Böcker utgivna av W W Norton & Co Ltd

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.

In this fresh look at the American Revolution, Hibbert portrays the realities of a war that thousands of George Washington's fellow countrymen condemned and one he came close to losing. This work presents a vivid picture of the "cruel, accursed" war that changed the world forever.

This book is something new in psychoanalytical exposition-both in its subject matter and its form of presentation. It attempts to convey, in everyday language understandable to the layman, some of the unconscious mental processes which underlie the feelings and action of normal, adult men and women.The characteristic feature of human psychology is the intense and continual interplay of the impulses of love on the one hand and hatred and agression on the other. Joan Riviere opens this joint study with an analysis of hate, greed, and aggression, and in the second section Melanie Klein talks about the forces of love, guilt, and reparation. Tracing the impulses in question back to their origins in infancy, the authors point out many features of adult mental life which evidence the persistence of earlier modes of thinking. Then they discuss some of the "infinitely various, subtle and complicated adaptations" by means of which each individual tries, all his life, to keep a balance between the life-brining and the destructive elements of his nature in order to achieve the maximum of security and gratification.

"I had always imagined a philosophical journal of my seventy-ninth year, dealing with the joys and problems, the doors opening out from old age to unknown efforts and surprises. I looked forward to the year as a potent harvest," May Sarton writes. Assailed by debilitating illnesses, Sarton found herself instead using much of her energy battling for health. Yet, as this record shows, she did after all do what she had wanted to, as she persevered in work, friendships, and love of nature, discovering in the process new landscapes in the country of old age.

The Writer on Her Work I, a ground-breaking collection of personal essays about what it means to be a woman who writes, was published to high praise in 1980. Now, in a second volume, Janet Sternburg has again commissioned essays from novelists, poets, and nonfiction writers from the United States and abroad.

A detailed reconstruction of Leonardo's emotional life from his earliest years, it represents Freud's first sustained venture into biography from a psychoanalytic perspective, and also his effort to trace one route that homosexual development can take.

This Stunning new collection documents some thirty years of Sandra Gilbert's career as a poet, from her sometimes fearful, sometimes exuberant early visions, through her feminist awakenings and the explorations of memory and desire, to a range of recent poems mapping the many meanings of grief, survival, and even regeneration.

Kennedy, an opportunist, orchestrates a scam that will have some intended and some thoroughly unintended consequences. For Mitsos, an unresolved family tragedy awakens again, along with his need to avenge his parents' deaths. With utterly convincing characterizations, Barry Unsworth brings us the underbelly of the forge of Western civilization.

Oates's chapter introductions and afterword on the writing workshop offer students encouragement, advice, and exercises for honing their skills.As a teacher, Oates emphasizes the importance of reading widely with enthusiasm, pleasure, and purpose. Telling Stories reflects this emphasis, introducing students to a variety of models for their own writing and encouraging them to concentrate on details, revise often, make material their own, experiment with genre, and ultimately find their own voice.Edited by a contemporary master of the storyteller's art "who defines herself primarily as a friend of the text and a friend of the writer," Telling Stories is the perfect anthology for creative writing workshops and fiction classes and a wellspring of inspiration for any beginning writer."The love of storytelling-to hear stories, and to tell them-is universal in our species. Those with an apparent talent for writing. . . are not of a special breed but simply mirror the common human desire. [If] you have a natural talent for writing, and a love of the imagination, you risk a lifelong deprivation if you fail to cultivate it as vigorously as you can. Write your own 'great American novel'. . . you're talented, you're intelligent, you have the driving passion, and you know as much as anyone about American life. Your story belongs uniquely to you." -Joyce Carol Oates, from the Introduction

A pensive, conscience-stricken man driven to melancholy by the fiendish truths of murder, the Czechoslovak policeman Lieutenant Boruvka is a notable new member of the brilliant-eccentric-detective literary tradition. Twelve bizarre tales-to be read as a continuous account-involve theatrical people, musicians, and mountaineers, who lead the lieutenant, and the reader, on an ingenious chase through the paths of crime.

An Autobiography chronicles the first half-century of Stravinsky's life, all the while offering his opinions and "abhorrences." A Parsifal performance at Bayreuth? "At the end of a quarter of an hour I could bear no more." Nijinsky? "The poor boy knew nothing of music." Spanish folk music? "Endless preliminary chords of guitar playing."

Vacationing at a friend's Roman villa, anthropologist Penny Spring and her archaeologist friend, Sir Toby, become caught up in the murder of the villa's caretaker.

Either the old Scottish castle is haunted, or someone is trying to scare the wits out of Heather Macdonell. The castle echoes with eerie sounds Heather is able to ease her mind about--at least, until the first murder occurs.

In early 1998, sixty years after it was written, one of Tennessee Williams' first full-length plays, Not About Nightingales, was premiered by Britain's Royal National Theatre and was immediately hailed as "one of the most remarkable theatrical discoveries of the last quarter century (London Evening Standard). Brought to the attention of the director Trevor Nunn by the actress Vanessa Redgrave (who has contributed a Foreword to this edition), "this early work...changed our perception of a major writer and still packs a hefty political punch" (London Independent). Written in 1938 and based on an actual newspaper story, the play follows the events of a prison atrocity which shocked the nation: convicts leading a hunger strike in a Pennsylvania prison were locked in a steam-heated cell and roasted to death. Williams later said: "I have never written anything since that could compete with it in violence and horror." Its sympathetic treatment of black and homosexual characters may have kept the play unproduced in its own time. But its flashes of lyricism and compelling dialogue presage the great plays Williams has yet to write. Not About Nightingales shows us the young playwright (for the first time using his signature "Tennessee") as a political writer, passionate about social injustice, and reflecting the plight of outcasts in Depression America. The stylistic influences of European Expressionism, radical American theatre of the 1930s, and popular film make it unique among the group of four early plays. Not About Nightingales has been edited by eminent Williams scholar Allean Hale, who has also provided an illuminating historical introduction.

From the master twentieth-century playwright Tennessee Williams-an adaptation of Chekhov's The Sea Gull, never before available to the general trade. The Notebook of Trigorin is faithful to Chekhov's story of longing and unrequited love. Set on a provincial Russian Estate, its peaceful environs offer stark contrast to the turbulent lives of its characters. Constantine, a young writer, must compete for the attention of his mother, a self-obsessed, often comical aging actress, Madame Arkadina, and his romantic ideal, Nina. His rival for both women is Trigorin, an established author bound to Arkadina by her patronage of his work, and attracted to Nina by her beauty. Trigorin cannot keep himself from consuming everything of value in Constantine's life. Only in the final scenes do all discover that the price for love and fragility can be horribly high. But if the words in The Notebook of Trigorin are essentially Chekhov's, the voice belongs firmly to Tennessee Williams. The dialogue resonates with echoes of the themes Williams developed as his signatures-compassion for the artistic soul and its vulnerability in the face of the world's "successfully practiced duplicity" (Act I).

Early in 1949, while under indictment for treason and hospitalized by court order at St. Elizabeths Hospital in Washington, D.C., Ezra Pound collaborated with Rudd Fleming, a professor at the University of Maryland, on a new version of Sophokles' Elektra. Pound's decision to focus on this play of imprisonment and justice at such a crucial juncture in his own life and art throws both the play and the poet into stark and ironic relief. Rediscovered and finally produced to great acclaim in 1987 by New York's Classic Stage Company, the Pound/Fleming translation of Elektra is now available in an acting edition prepared by the CSC Repertory's artistic director. Carey Perloff says of the translation: "It is energetic, slightly outrageous, and very American .... It's very chiseled, very spare, not flowing or lyrical. It's sort of 'cowboy.' But line for line, it is Sophokles." Ms. Perloff also gives suggestions for staging and casting which will be invaluable to other producers and directors.

A devastating revelation of violence, exploitation, and corrupt politics, Coming to Jakarta derives its title from the role played by the CIA, banks, and oil companies in the 1965 slaughter of more than half a million Indonesians. A former Canadian diplomat and now a scholar at the University of California, Peter Dale Scott has said that the poem "is triggered by what we know of the bloody Indonesian massacre... However it is not so much a narrative of exotic foreign murder as one person's account of what it is like to live in the 20th century, possessing enough access to information and power to feel guilty about global human oppression, but not enough to deal with it. The usual result is a kind of daily schizophrenia by which we desensitize ourselves to our own responses to what we read in the newspapers. The psychic self-alienation which ensues makes integrative poetry difficult but necessary." With a brilliant use of collage, placing the political against the personal--childhood acquaintances are among the darkly powerful figures--Scott works in the tradition of Pound's Cantos, but his substance is completely his own.

When Death of a Man was first published in 1936, the anonymous reviewer in Time described the novel as a "Nazi idyll." Nothing could be further from the truth. Boyle, who lived in the town of Kitzbühel in the Tirolean Alps during the mid 30s, recalls that "In 1934, mothers, fathers, children-all barefoot-stood in the ankle-deep snow on the sidewalks of Vienna, their hands out-stretched for help .... Nazism as to them mutely accepted as the one hope for the economy." The subtlety and precision honed by Boyle in her acclaimed short stories are used in Death of a Man to describe the tragedy of a society pushed to the edge by circumstance but as yet unaware of the dangers, the incipient evil, of the course it is choosing. In this setting, the passionate relationship between the appealing and vigorous but pro-Nazi Dr. Prochaska and the pampered, neurotic American young woman Pendennis, is a paradigm of the difficulty of individual love in a disordered world.

When Jules Laforgue's Moralités légendaires was published in 1887 a few months after his death at the age of twenty-seven, it was hailed as a masterpiece. In the words of Remy de Gourmont, it gave "the sensation (specially rare) that we have never read anything like it: the grape with all its velvet hues in the morning light, but with curious reflections and an air as if the seeds within had become frozen by a breath of ironic wind come from some place farther than the pole." Subsequent readers have agreed. The book, which parodies great figures of literature and legend, Hamlet, Lohengrin, and Salome, was an important influence on James Joyce and T. S. Eliot as well as on any number of French poets from Guillaume Apollinaire to Jacquest Prévert. In his introduction to this lively translation, William Jay Smith points out that Laforgue had hit upon a wholly modern approach: "The heroes of the past must be recreated by each human consciousness in its own way: they are perpetually waiting to be reborn." Their rebirth, in the wit and elegance of these finely wrought tales that Smith has carried over into English is a joy to contemplate.

This first English-language edition of Federico Garcia Lorca's Selected Letters presents an intimate autobiographical record of the Spanish poet from the age of twenty to a month before his death at the hands of Franco's forces in 1936. "I was born for my friends," Lorca wrote to Melchor Fernández Almagro in 1926, and these letters reveal the personality his friends found so magical. ("A happiness, a brilliance..." Pablo Neruda called him.) Lorca was by turns sympathetic, generous, demanding, whimsical, insecure, and always lyrical. Over the nineteen years covered in this selection, he maintained a correspondence with his closest friends, particularly his childhood companion Melchor Fernández Almagro and his fellow poet Jorge Guillén, and wrote in concentrated bursts to many others. He could be playful with Salvador Dali's younger sister Ana Maria; deferential to composer Manuel de Falla; lively and descriptive with his family; and exasperating to Barcelona critic Sebastian Gasch as he poured out literary plans and solicited favors, ever impassioned but good-natured. With their frequent enclosures of poems and scenes from plays, the letters also chronicle Lorca's growth as an artist, from self-doubting romantic dilettante to confident, internationally respected playwright and poet. Begun at Columbia University under the aegis of Lorca's brother, Francisco Garcia Lorca, the translation and selection of these letters has been made by David Gershator, poet, teacher, and co-founder of the Downtown Poets Co-op. Dr. Gershator has also provided an informative biographical introduction.

The first major book of short prose poetry in Spanish, Eagle or Sun? (Aguila o Sol?) exerted an enormous influence on modern Latin American writing. Written in 1949-50 by Nobel Laureate Octavio Paz, Eagle or Sun? has as its mythopoeic "place" Mexico--a country caught up in its pre-Columbian past, the world of modern imperialism, and an apocalyptic future foretold by the Aztec calendar. Indeed, three personae of the book--the goddess Itzapaplotl, the prophet clerk, the poet--are manifestations of the threefold aspects of the land. Paz himself explains: "Eagle or Sun? is an exploration of Mexico, yes, but at the same time, and above all, it is an exploration of the relations between language and the poet, reality and language, the poet and history."

H. D.'s (Hilda Doolittle, 1884-1961) late poems of search and longing represent the mature achievement of a poet who has come increasingly to be recognized as one of the most important of her generation. The title poem and other long pieces in this collection ("Sagesse" and "Winter Love") were written between 1957 and her death four years later, and are heretofore unpublished, except in fragments. We can see now in proper context her fine ear for the free line, and understand why other poets, such as Denise Levertov, Robert Creeley, and Robert Duncan, find so much to admire in H. D.'s work. As in her earlier books, one level of H.D.'s significant poetic statement derives from her intimate knowledge of and identification with classical Greek and arcane cultures; taken together, these elements make up the poet's own personal myth. Norman Holmes Pearson, H. D's friend and literary executor, has contributed an illuminating foreword to this impressive collection.H. D.'s (Hilda Doolittle, 1884-1961) late poems of search and longing represent the mature achievement of a poet who has come increasingly to be recognized as one of the most important of her generation. The title poem and other long pieces in this collection ("Sagesse" and "Winter Love") were written between 1957 and her death four years later, and are heretofore unpublished, except in fragments. We can see now in proper context her fine ear for the free line, and understand why other poets, such as Denise Levertov, Robert Creeley, and Robert Duncan, find so much to admire in H. D.'s work. As in her earlier books, one level of H.D.'s significant poetic statement derives from her intimate knowledge of and identification with classical Greek and arcane cultures; taken together, these elements make up the poet's own personal myth. Norman Holmes Pearson, H. D's friend and literary executor, has contributed an illuminating foreword to this impressive collection.