In America she has been posthumously launched as the electric-age Blake, she has been translated into French and Italian to great acclaim, and in the Times Literary Supplement Thom Gunn compared her to the great Augustan satirists. Her reclamation as an English poet is long overdue.Pound, Moore and Williams valued her work, while British critics openly scorned it. Not only were her futurist techniques unlike anything they had encountered before, but her subjects -- procreation, parturition, prostitution, suicide, addiction, retardation -- were considered shocking even by some modernists.She vanished from the literary scene just as dramatically as she had arrived on it, and for much of the century her bold experiments remained a well-kept secret. Carcanet first introduced her work to British readers in 1985 in Roger Conover's The Last Lunar Baedeker, a collected writings. This new edition updates our earlier volume and presents more reliable texts of the essential Loy poems. It includes more extensive notes and apparatus, and features a number of previously unknown works rescued from Dada archives and obscure avant-garde little magazines. All of Loy's canonical Futurist and feminist satires are included, as are the celebrated poems from her Paris and New York periods, the complete cycle of `Love Songs', and her famous portraits-in-verse which define the trajectory of her favoured company and geography -- from fellow modernists Joyce and Brancusi in Paris in the 1920s to fellow destitutes in New York's Lower East Side in the 1940s.

    Spring and All contains some of Williams’s best-known poetry, including Section I, which opens, “By the road to the contagious hospital,” and Section XXII, where Williams wrote his most famous poem, “The Red Wheelbarrow.”

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    As he seeks to recover his health, his peace is often interrupted by the local residents: the well-meaning but officious Dr. Olphert, the fourteen-year-old poet-prodigy Trefusis Heron, and Pender’s older cousin, Nellie Burton, who means to marry her daughter Norah to him. But Pender soon discovers himself to be among another group of residents as well: the ghosts of the dead haunt an old chamber, long disused, where a century earlier a tragedy played out, involving his great-grandfather Edward, his young wife, Roxana, and her lover. As Pender passes the period of his convalescence in piecing together the family history from dusty portraits and long-concealed letters, the haunted chamber begins to exercise its influence upon him, and the barrier that divides past from present and the living from the dead, begins to break down, leading to an eerie and unsettling climax . . .Though best known for his tales of boyhood, Forrest Reid (1875-1947) was also a master of the supernatural tale in the tradition of Sheridan Le Fanu and Henry James’s The Turn of the Screw. Pender among the Residents (1922) is a highly entertaining story, told in the distinguished prose style for which Reid is celebrated, and featuring a delightfully ominous and dreadful sense of atmosphere that makes it perfect reading for a dark, chilly night.‘He is a master hand at the creation of an atmosphere out of which something uncanny must develop and at making the supernatural seem not only possible but actual. There is no one writing today who exceeds him in the ability to deal effectively, persuasively, with occult themes.’ – New York Times‘A success . . . a fantastic diversity of character and incident . . . a ghost-story . . . that would have pleased Henry James.’ – Saturday Review‘Mr. Reid tells his slight story with unusual delicacy and charm. The interest of [the] novel lies not so much in the story he tells as in his manner of telling it and in the characters which he creates with a deftness and reality which give them a genuine hold on the memory.’ – Literary Review