Translated as a labor of love over a ten year period the poems encompass the full range of Tzara's works, the results of which have brought Tzara's poetry to life for English language readers for over 25 years. Completely revised, updated edition of this classic survey.

    A carefully woven assemblage of legends, aphorisms, fairy tales and nihilistic philosophy, it remains a deeply enigmatic and haunting work more than a century later, a gathering of literary and personal ruins written in a style that evokes both the Brothers Grimm and Friedrich Nietzsche. The Book of Monelle was the result of Schwob's intense emotional suffering over the loss of his love, a "girl of the streets" named Louise, whom he had befriended in 1891 and who succumbed to tuberculosis two years later. Transforming her into the innocent prophet of destruction, Monelle, Schwob tells the stories of her various sisters: girls succumbing to disillusionment, caught between the misleading world of childlike fantasy and the bitter world of reality. This new translation reintroduces a true fin-de-siècle masterpiece into English.A secret influence on generations of writers, from Guillaume Apollinaire and Jorge Luis Borges to Roberto Bolaño, Marcel Schwob (1867-1905) was as versed in the street slang of medieval thieves as he was in the poetry of Walt Whitman (whom he translated into French). Paul Valéry and Alfred Jarry both dedicated their first books to him, and he was the uncle of Surrealist photographer Claude Cahun.

    From the beach towns of Normandy to the streets of New Orleans, these thirteen vignettes introduce us to a covetous French painter, a sleepless wanderer of the night, a guitar-playing gypsy, and a host of others who yearn for and dive into the turbulent depths of romantic experience.

    Lautreamont bewildered his contemporaries, but the Surrealists modeled their efforts after his black humor and poetic leaps of logic, exemplified by the oft-quoted line, -As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella.- Maldoror 's shocked first publisher refused to bind the sheets of the original edition--and perhaps no better invitation exists to this book, which warns the reader, -Only the few may relish this bitter fruit without danger.- This is the only complete annotated collection of Lautreamont's writings available in English, in Alexis Lykiard's superior translation. For this latest edition, Lykiard updates his introduction to include recent scholarship.

    Yet very little of Picabia's poetry and prose has been translated into English, and his literary experiments have never been the subject of close critical study. I Am a Beautiful Monster is the first definitive edition in English of Picabia's writings, gathering a sizable array of Picabia's poetry and prose and, most importantly, providing a critical context for it with an extensive introduction and detailed notes by the translator. Picabia's poetry and prose is belligerent, abstract, polemical, radical, and sometimes simply baffling. For too long, Picabia's writings have been presented as raw events, rule-breaking manifestations of inspirational carpe diem. This book reveals them to be something entirely different: maddening in their resistance to meaning, full of outrageous posturing, and hiding a frail, confused, and fitful personality behind egoistic bravura. I Am a Beautiful Monster provides the texts of of Picabia's significant publications, all presented complete, many of them accompanied by their original illustrations.

    Included are theoretical texts, aberrant journalism, and highly-wrought Symbolist poems; a practical guide to building a time machine; and the bizarre dramatic buffoonery that presaged Jarry's invention of his most famous character, Pere Ubu. Andre Breton had to devise his notion of "Black Humor" to adequately describe and account for the arcane absurdity of Jarry's work.

    This collection of brilliant short pieces introduces the reader to those techniques employed by Robbe-Grillet in his longer works. These intriguing, gemlike stories represent his most accessible fiction.

    One of the original self-styled -bohemians, - Nerval was best known in his own day for parading a lobster on a pale blue ribbon through the gardens of the Palais-Royal, and was posthumously notorious for his suicide in 1855, hanging from an apron string he called the garter of the Queen of Sheba. This hallucinatory document of dreams, obsession, and insanity has fascinated artists such as Joseph Cornell, who cited passages from it to explain his own work; Antonin Artaud, who saw his own madness mirrored by Nerval's; and Andre Breton, who placed Nerval in the highest echelon of Surrealist heroes. Geoffrey Wagner's translation of Aurelia was first published by Grove Press in 1959, but has remained out of print for nearly 20 years. Also included in this volume are previously untranslated stories by Marc Lowenthal, and poet Robert Duncan's version of the sonnet cycle Chimeras, making this the most complete collection of Nerval's influential oeuvre ever published in English.

    Daumal's symbolic mountain represents a way to truth that "cannot not exist," and his classic allegory of man's search for himself embraces the certainty that one can know and conquer one's own reality.

    This volume brings together for the first time in English a collection including a series of stories and a novella, formed of a group of linked autobiographical pieces first published posthumously in France as Mon Amie Valentine.

    Described here are the emotionally disturbed architectural plan for a palace of emptiness; the experience of snowfall in a bed in the middle of a Finnish forest; the memory chambers that fuel the marvelous futility of the endeavor to write; the beautiful woodland church, built of warm air currents and fog, scattering in storms and taking renewed shape at dusk, that gives this book its title. The Cathedral of Mist offers the sort of ethereal narratives that might have come from the pen of a sorrowful, distinctly Belgian Italo Calvino. It is accompanied by two meditative essays on reading and writing that fall in the tradition of Marcel Proust and Julien Gracq. Paul Willems (1912-97) published his first novel, Everything Here Is Real, in 1941. Three more novels and, toward the end of his life, two collections of short stories bracketed his career as a playwright.

    It is published here with the short story The Retreat of Monsieur Bougran. M. Folantin is a government employee who is overwhelmed by the quotidian misery of life. The story follows his quixotic quest for enjoyment as he goes to a restaurant, to the cinema, and to a prostitute—but ultimately finds that nothing can relieve him of his disgust and boredom with the business of living. Joris–Karl Huysmans, art critic and author of Against Nature, is a leading figure in France’s Decadent Movement.

    1891), one of the leading figures of the surrealistic movement and among the most original artists of the 20th century. From old catalog and pulp novel illustrations, Ernst produced this series of 182 bizarre and darkly humorous collage scenes of classic dreams and erotic fantasies which seem mysteriously to lure the unconscious into view: Stern, proper-looking women sprout giant sets of wings, serpents appear in the drawing-room and bed chamber, a baron has the head of a lion, a parlor floor turns to water on which some people can apparently walk while others drown.Une Semaine de Bonté is divided into seven parts, one for each day of the week, with each section illustrating one of Ernst’s “seven deadly elements.” “Oedipus,” “The Court of the Dragon,” and “Three Visible Poems” are among the startling episodes of Ernst's week. The Dada and surrealist epigraphs which introduce each section appear in this edition in both French and English.Une Semaine de Bonté first appeared in 1934 in a series of five pamphlets of fewer than 1,000 copies each, and has never been reprinted before this present edition. Previously available only to a few libraries and collectors, this is a major source and great treat for anyone interested in the surrealists and their work, in collage, visual illusion, dream visions, and the interpretations of dreams.

    Discovered by Colette, who arranged for the publication of his first novel, My Friends, Bove enjoyed a busy literary career, until the German occupation silenced him. During his lifetime, Bove’s novels and stories were admired by Rainer Maria Rilke, the surrealists, Albert Camus, and Samuel Beckett, who said of him that “more than anyone else he has an instinct for the essential detail.”Henry Duchemin and His Shadows is the perfect introduction to Bove’s world, with its cast of stubborn isolatoes who call to mind Herman Melville’s Bartleby, Robert Walser’s “little men,” and Jean Rhys’s lost women. The poet of the flophouse and the dive, the park bench and the pigeon’s crumb, Bove is also a deeply empathetic writer for whom no defeat is so great as to silence desire.[Source: http://www.nybooks.com/books/imprints...]

    It is historical fiction once removed: an account of events that were imaginary even from the point of view of an invented past — although Poissel claimed (in a letter to his friend Bartholomeo Facil, August, 1905) that "the characters in this book are all true — all persons who really lived and slept that winter."