This volume contains the finest short poetry Donald Hall has written, poems of landscape and love, of dedication and prophecy, poems that have won thousands of readers, as well as various prizes and honors.

    S. Eliot. In this definitive edition, French and English texts appear on facing pages. Preface by T. S. Eliot.

    This exceptional volume brings together the most comprehensive selection of poems by Breton available in the English language. Here, in a bilingual French-English format are 73 poems representing all styles and stages of the writer's career.

    It is a place created by a voice that moves with unerring ease between the commonplace and the sublime. The poems are filled with "the weather of leavetaking", but they are also unexpectedly funny. The erasure of self and the depredations of time are seen as sources of sorrow, but also as grounds for celebration. This is one of the difficult truths these poems dramatize with stoicism and wit.

    He had led migration of Bohemian Paris across the city from Montmartre to Montparnasse, he had helped formulate the principles of 'Cubism', having written one of the first books on the subject, and coined the word 'Surrealist'; and he had demonstrated in his own work those innovations we have come to associate with the most vital investigations of the avente - garde.

    Exceptional for their range in mood and situation, these four novels are unparalleled exhibitions of a poetic beauty that is uniquely Duras.

    Ashbery fans and lovers of modern poetry alike will recognize here some of the century's most anthologized and critically admired works of poetry, including "Soonest Mended", "Decoy", "Sunrise in Suburbia", "Evening in the Country", the achingly beautiful long poem "Fragment", and Ashbery's so-called Popeye poem, the mordant and witty "Farm Implements and Rutabagas in a Landscape". The Double Dream of Spring helped cement Ashbery's reputation as a must-read American poet, and no library of modern poetry is complete without it

    This bilingual edition contains a representative selection of poems from different periods and different aspects of his vast output.

    It concludes with excerpts from his creative writings such as Monsieur Teste and the drama Mon Faust.The list of translators for this volume is distinguished. Among them are Lionel Abel, Léonie Adams, Malcolm Cowly, James Kirkup, C. Day Lewis, Jackson Mathews, Louise Varese, and Vernon Watkins.

    Throughout his writing life, Levi also produced poetry and this volume collects together all his poems, including eighteen that have not previously appeared in book form. Short and spare, the poems employ the same courageous and steady gaze at the worst that can happen that illuminates his prose.

    Using the techniques of omission and indirection perfected in such masterpieces as Badenheim 1939 and To the Land of the Cattails, Appelfeld tells the story of Bartfuss, enigmatically "the immortal" because of his experience in the camps. Now locked in a hopeless marriage, Bartfuss struggles to suppress the emotions and recollections he fears and despises, while trying to keep alive the poise, dignity, and compassion essential to a human being. The Immortal Bartfuss is an overwhelming and unforgettable study of a man reduced to his tragic limits.

    This selection is from L’Espace du Dedans, which collected eight books of prose poems, sketches and free verse. Brilliantly translated by Richard Ellmann, Michaux asks readers to join him in a fantastic world of the imagination. It is a world where wry humor plays against horror––where Chaplin meets Kafka––a world of pure and rare invention.

    With the first thirty poems of "Passages," which form the structural base in Bending the Bow, he has begun a second open series––a multiphasic projection of movements in a field, an imagined universe of the poem that moves out to include all the terms of experience as meaning. Here Duncan draws upon and in turn contributes to a mode in American poetry where Pound’s Cantos, Williams’s Paterson, Zukofsky’s “A,” and Olson’s Maximus Poems have led the way. The chronological composition of Bending the Bow emphasizes Duncan’s belief that the significance of form is that of an event in process. Thus, the poems of the two open series belong ultimately to the configuration of a life in poetry in which there are forms moving within and interpenetrating forms. Versions of Verlaine’s Saint Graal and Parsifal and a translation of Gérard de Nerval’s Les Chimeres enter the picture; narrative bridges for the play Adam’s Way have their place in the process; and three major individual poems––"My Mother Would Be a Falconress," "A Shrine to Ameinias," and "Epilogos"––among others make for an interplay of frames of reference and meaning in which even such resounding blasts of outrage at the War in Vietnam as "Up Rising" and "The Soldiers" are not for the poet things in themselves but happenings in a poetry that involve all other parts of his experience.

    Trotsky wrote, `Certainly Blok is not one of us, but he came towards us. And that is what broke him.' Pasternak said, `He is as free as the wind.'

    This crucial collection combines The New Tenant with Amédée and Victims of Duty—the plays Richard Gilman has called, along with The Killer, Ionesco’s “greatest plays, works of the same solidity, fulness, and permanence as [those of] his predecessors in the dramatic revolution that began with Ibsen and is still going on.”In Amédée, the title character and his wife have a problem—not so much the corpse in their bedroom as the fact that it’s been there for fifteen years and is now growing, slowly but surely crowding them out of their apartment.In The New Tenant a similar crowding is caused by an excess of furniture—as Harold Hobson said in the London Times, “there is not dramatist . . . who can make furniture speak as eloquently as Ionesco, and here he makes it the perfect, the terrifying symbol of the deranged mind.”In Victims of Duty, Ionesco parodies the conformity of modern life by plunging his characters into an obscure search for “Mallot with a t.” In these as in all his plays, Ionesco poses and solves his tragicomic dilemmas with the brilliant blend of gravity and hilarity that is the hallmark of the absurdist theater.