An adaptation of the ballad singing culture of the gaucho minority that saw its way of life threatened by social and political changes of the 19th century.

    This new bilingual selection brings together some two hundred poems--the largest collection of Borges' poetry ever assembled in English, including scores of poems never previously translated. Edited by Alexander Coleman, the selection draws from a lifetime's work--from Borges' first published volume of verse, Fervor de Buenos Aires (1923), to his final work, Los Conjurados, published just a year before his death in 1986. Throughout this unique collection the brilliance of the Spanish originals is matched by luminous English versions by a remarkable cast of translators, including Robert Fitzgerald, Stephen Kessler, W. S. Merwin, Alastair Reid, Mark Strand, Charles Tomlinson, and John Updike.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    "Unusual Occupations," the second chapter, describes the obsessions and predilections of the narrator's family, including the lodging of a tiger-just one tiger- "for the sole purpose of seeing the mechanism at work in all its complexity." Finally, the "Cronopios and Famas" section delightfully characterizes, in the words of Carlos Fuentes, "those enemies of pomposity, academic rigor mortis and cardboard celebrity-a band of literary Marx Brothers."

    In 1972, after her work was banned under a repressive military regime, she left her country, moving to Spain.This collection of poems, written during her journey and the first period of her self-exile, was so personal that it remained unpublished for almost thirty years. It is accompanied here by two brilliant essays on exile, one by Peri Rossi and the other by translator Marilyn Buck, who is an American political prisoner, exiled in her own land.Cristina Peri Rossi is the author of thirty-seven works, including The Ship of Fools.

    One of the great Spanish language poets, he merged radical politics and language consciousness, resulting in the first examples of a truly new world poetry.The Black Heralds is Vallejo’s first book and contains a wide range of poems, from love sonnets in which he struggles to free his erotic life from the bounds of Spanish Catholicism to the linguistically inventive sequence, "Imperial Nostalgias," where he parodies with considerable savagery the pastoral romanticism of Indian and rural life.In this bilingual volume, translator Rebecca Seiferle attempts to undo the "colonization" of Vallejo in other translations. As Seiferle writes in her introduction: "Reading and translating Vallejo has been a long process of trying to meet him on his own terms, to discover what those terms were within the contexts of his particular time and, finally, taking his word for it."from "Our Bread"And in this frigid hour, when the earthsmells of human dust and is so sad,I want to knock on every doorand beg forgiveness of I don’t know whom,and bake bits of fresh bread for him,here, in the oven of my heart...!César Vallejo (1892–1938) was born in Peru to a family of mixed Spanish and native descent. He wrote two books of poetry, the second of which was partly composed during a short prison term. Disappointed by the reception of his poetry in his own country, Vallejo moved to Paris, where he became active in Marxist politics and the antifascist campaign in Spain, while publishing essays, political articles, a play, and short stories.Vallejo died in Paris, in utter poverty, on the day Franco’s armies entered Madrid.

    These poems, written by the prolific Chilean poet between the 1920's and 1940's, illuminate his views on alienation and political oppression.

    Ostensibly a biography of the gaucho barbarian Juan Facundo Quiroga, Facundo is also a complex, passionate work of history, sociology, and political commentary, and Latin America's most important essay of the nineteenth century.

    Paz is a writer for the entire world to celebrate (Chicago Tribune), the poet-archer who goes straight to the heart and mind, where the center of being is one (Nadine Gordimer), the living conscience of his age (Mario Vargas Llosa), a poet-prophet, a genius (Harold Bloom). Here at last is the first retrospective collection of Paz s poetry to span his entire writing career, from the first published poem, at age seventeen, to his magnificent last poem; the whole is assiduously edited and translated by acclaimed essayist Eliot Weinberger who has been translating Paz for over forty years with additional translations by several poet-luminaries. This edition includes many poems that have never before been translated into English, new translations based on Paz s final revisions, and a brilliant capsule biography of Paz by Weinberger, as well as notes on the poems in Paz s own words, taken from various interviews he gave throughout his life.

    Reading this novel, the reader is present at the birth of Bolaño’s enterprise in prose: all the elements are here, highly compressed, at the moment when his talent explodes. From this springboard—which Bolaño chose to publish in 2002, twenty years after he’d written it (“and even that I can’t be certain of”)—as if testing out a high dive, he would plunge into the unexplored depths of the modern novel.Antwerp’s fractured narration in 54 sections—voices from a dream, from a nightmare, from passers by, from an omniscient narrator, from “Roberto Bolaño” all speak—moves in multiple directions and cuts to the bone.

    The Locas mujeres poems collected here are among Mistral’s most complex and compelling, exploring facets of the self in extremis—poems marked by the wound of blazing catastrophe and its aftermath of mourning.            From disquieting humor to balladlike lyricism to folkloric wisdom, these pieces enact a tragic sense of life, depicting “madwomen” who are anything but mad. Strong and intensely human, Mistral’s poetic women confront impossible situations to which no sane response exists. This groundbreaking collection presents poems from Mistral’s final published volume as well as new editions of posthumous work, featuring the first English-language appearance of many essential poems. Madwomen promises to reveal a profound poet to a new generation of Anglophone readers while reacquainting Spanish readers with a stranger, more complicated “madwoman” than most have ever known.

    Lorca (1898-1937) is admired all over the world for the lyricism, immediacy and clarity of his poetry, as well as for his ability to encompass techniques of the symbolist movement with deeper psychological shadings. But Lorca's poems are, most of all, admired for their beauty. Undercurrents of his major influences--Spanish folk traditions from his native Andalusia and Granada, gypsy ballads, and his friends the surrealists Salvador Dali and Luis Bunuel--stream throughout Lorca's work. Poets represented here as translators are as diverse as Stephen Spender, Langston Hughes, Ben Belitt, William Jay Smith, and W.S. Merwin.

    When this woman is murdered and Camilo is accused of the homicide, the mystery takes on bizarre proportions. The gradual un­folding of the mystery involves the reader intellectually, but also holds him captive to the special interests of several narrators. And the unravel­ling and ultimate resolution of the mystery permit the reader to be gratified that his efforts at following the narrative carefully have finally been rewarded.

    Don Anselmo, a stranger in a black coat, builds a brothel on the outskirts of the town while he charms its innocent people, setting in motion a chain reaction with extraordinary consequences.This brothel, called the Green House, brings together the innocent and the corrupt; Bonificia, a young Indian girl saved by the nuns only to become a prostitute; Father Garcia, struggling for the church; and four best friends drawn to both excitement and escape.The conflicting forces that haunt the Green House evoke a world balanced between savagery and civilization -- and one that is cursed by not being able to discern between the two.

    Ricardo Guiraldes, a friend of Jorge Luis Borges - they both founded the legendary magazine Proa - managed to develop a simple and modern language, a high quality mixture of literacy and colourful local camp expressions that earned him a major standing among the best representatives of "criollismo."Even though it may be considered as a continuity with Martin Fierro, more than an extinguished gaucho elegy Don Segundo Sombra proposes new ethical examples to a youth that Guiraldes considered disoriented and restless. Basically structured as lessons to be absorbed departing from inexperience, lessons on labour, amusement, morals, camp chores (horse taming, cattle rodeo, raw hide handy work, animal healing, etc.), they become an example of "lo argentino" supported by a very specific and precise lexikon.Our edition includes more than 300 lexicographic notes, conveniently placed at the bottom of the pages and intended to help the modern reader grasp the exact meaning of the text without obtrusive lengthy interruptions. The notes were made after a careful research work that included the critical Martin Fierro editions by Eleuterio F. Tiscornia, Ed. Losada, Buenos Aires, 1941; by Carlos Alberto Leumann, Ed. Angel de Estrada, Buenos Aires, 1945; and by Santiago M. Lugones, Ed. Centurion, Buenos Aires, 1948; their own notes compared between them and with the critical edition by Elida Lois y Angel Nunez, Ed. ALLCA XX (Association Archives de la Litterature Latinoamericaine, des Caraibes et Africaine du XX Siecle), Paris 2001; with Leopoldo Lugones en El payador, Ed. Centurion, Bs. As. 1948 (and Stockcero 2004); Francisco Castro in Vocabulario y frases del Martin Fierro, Ed. Kraft, Bs. As. 1950, and Domingo Bravo en El Quichua en el Martin Fierro y Don Segundo Sombra, Ed. Instituto Amigos del Libro Argentino, Bs. As. 1968; Horacio J. Becco en don Segundo Sombra y su vocabulario, Ed. Ollantay, Bs. As. 1952; Ramon R. Capdevila 1700 refranes, dichos y modismos (region central bonaerense), Ed. Patria, Bs. As. 1955; Emilio Solanet Pelajes Criollos, Ed. Kraft, Bs. As. 1955; and Tito Saubidet Vocabulario y refranero criollo, Ed. Kraft, Bs. As. 1943"

    Selected by a team of poets and prominent Neruda scholars in both Chile and the United States, this is a definitive selection that draws from the entire breadth and width of Neruda’s various styles and themes. An impressive group of translators that includes Alaistair Reid, Stephen Mitchell, Robert Hass, Stephen Kessler and Jack Hirschman have come together to revisit or completely retranslate the poems. A bilingual edition, with English on one side of the page, the original Spanish on the other. This selection sets the standard for a general, high--quality introduction to Neruda’s complete oeuvre. Pablo Neruda was born in Chile in 1904. He received the Nobel Prize for Literature in 1971.