Bilingual Edition. Translated from the French by William Stone. A precursor of the symbolists and the surreallists, Gerard de Nerval has fascinated many major literary figures, including Proust and Breton, Eliot and Apollinaire, Michaux and Leiris. The great sonnet cycle, in its marvellous combination of spell, quest and dream, continues to fascinate writers, readers and that special category of writerly readers, translators. Menard's translator is the gifted young poet William Stone, who explains his work in a strongly worded essay: "like a partly submerged crocodile, with one amber eye half open, the foreign line sits, waiting for the anxious translator to make a move."

    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.

    We should be fed to the pigs, mothers like me." A mother fumes about her daughter's love affair as they hurtle towards tragedy in Verga's passionate Italian drama, first performed in 1894.David Lan's acclaimed new version premiered at the RSC in June 2000.

    This book is his most experimental work, but a work no less tradition-saturated than Eliot's. As poet, private individual, and "good European", Montale's way of dealing with his difficulties was to seize the occasions offered him by writing poetry in which the lover's passions for his beloved country would convey the truth of both his public and his private situations.

    Expressing the author’s political, civic, and sentimental concerns, these poems captivate with their immediacy and intimacy. Each work reveals the inner recesses of a passionate, restless, and surprisingly modern mind.

    Each of the forty-five sections plays against the others, and although wide-ranging and with many moods and changes of tone, Dark Harbor is all of a piece.

    He saw it as the cornerstone of his entire dramatic output. This book will be my masterpiece, he declared. He had completed the two great poetic dramas, Brand and Peer Gynt and was about to embark on the Cycle of twelve modern plays, beginning with Pillars of Society and concluding with When We Dead Awaken which were to establish his unrivaled international fame. While the plays of the Realist Cycle are well known, Emperor and Galilean still awaits discovery by modern readers, actors and directors. The major Shakespearean scholar, G. Wilson Knight has written of the play, it is certainly the greatest dramatic document of its century..it is stageworthy...(it is) conceived dramatically, even theatrically... under a spectacular production the result could be triumphant. Dramatizing the tragic career of Julian the Apostate, the play presents Western Civilzation itself at a most crucial point. It is indispensable for understanding the later plays: themes, situations, and characters from Emperor and Galilean continually reappear in the modern realist plays.

    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.

    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.

    

    R. Ammons's long poems—following Tape for the Turn of the Year and preceding Garbage—that mark him as a master of this particular form. The sphere in question is the earth itself, and Ammons's wonderfully stocked mind roams globally, ruminating on subjects that range from galaxies to gas stations. It is a remarkable achievement, comparable in importance to Wallace Stevens's Notes Toward a Supreme Fiction.

    It included many poems missing from Stevens's Collected Poems, along with Stevens's characteristically inventive prose and pieces for the theater. Now Milton J. Bates, the author of the acclaimed Wallace Stevens: A Mythology of Self, has edited and revised Opus Posthumous to correct the previous edition's errors and to incorporate material that has come to light since original publication. A third of the poems and essays in this edition are new to the volume. The resulting book is an invaluable literary document whose language and insights are fresh, startling, and eloquent.

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

    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.

    The School for Husbands is a comedy in three acts and in verse.The intrigue of this comedy is the radical contrast between the ideas of two brothers about educating their children: one of them is very strict while the other is indulgent.This was the first play in the title of which the word "School" was employed, to imply that the author not only had the intention of amusing but also intended to convey a special lesson to his hearers.