All, however, share a common vision: a rediscovery of this land, and the ways by which we might become natives of the place, ceasing to think and act (after all these centuries) as newcomers and invaders. Of particular interest is the full text of the ever more relevant "Four Changes," Snyder's seminal manifesto for environmental awareness.

    Examining navigation and shipbuilding; cultural analogies between Native Americans and Africans; the transportation of plants, animals, and textiles between the continents; and the diaries, journals, and oral accounts of the explorers themselves, Ivan Van Sertima builds a pyramid of evidence to support his claim of an African presence in the New World centuries before Columbus. Combining impressive scholarship with a novelist’s gift for storytelling, Van Sertima re-creates some of the most powerful scenes of human history: the launching of the great ships of Mali in 1310 (two hundred master boats and two hundred supply boats), the sea expedition of the Mandingo king in 1311, and many others. In They Came Before Columbus, we see clearly the unmistakable face and handprint of black Africans in pre-Columbian America, and their overwhelming impact on the civilizations they encountered.

    Keeping a watchful eye is Bernard Valcourt, a jaded foreign journalist, but his closest attention is devoted to Gentille, a hotel waitress with the slender, elegant build of a Tutsi. As they slip into an intense, improbable affair, the delicately balanced world around them–already devastated by AIDS–erupts in a Hutu-led genocide against the Tutsi people. Valcourt’s efforts to spirit Gentille to safety end in their separation. It will be months before he learns of his lover’s shocking fate.

    --from Coma The novelist and playwright Pierre Guyotat has been called the last great avant-garde visionary of the twentieth century, and the near-cult status of his work--because of its extreme linguistic innovation and its provocative violence--has made him one of the most influential of French writers today. He has been hailed as the true literary heir to Lautr?amont and Arthur Rimbaud, and his "inhuman" works have been mentioned in the same breath as those by Georges Bataille and Antonin Artaud.Winner of the 2006 prix D?cembre, Coma is the deeply moving, vivid portrayal of the artistic and spiritual crisis that wracked Guyotat in the 1980s when he reached the physical limits of his search for a new language, entered a mental clinic, and fell into a coma brought on by self-imposed starvation. A poetic, cruelly lucid account, Coma links Guyotat's illness and loss of subjectivity to a broader concern for the slow, progressive regeneration of humanity. Written in what the author himself has called a "normalized writing," this book visits a lifetime of moments that have in common the force of amazement, brilliance, and a flash of life. Grounded in experiences from the author's childhood and his family's role in the French Resistance, Coma is a tale of initiation that provides an invaluable key to interpreting Guyotat's work, past and future.

    In his preface, Andre Maurois writes: "Borges is a great writer who has composed only little essays or short narratives. Yet they suffice for us to call him great because of their wonderful intelligence, their wealth of invention, and their tight, almost mathematical style."Labyrinths is a representative selection of Borges' writing, some forty pieces drawn from various books of his published over the years. The translations are by Harriet de Onis, Anthony Kerrigan, and others, including the editors, who have provided a biographical and critical introduction, as well as an extensive bibliography.

    An admired contemporary of Rilke, Akhmatova, and Mandelstam, Russian poet Marina Tsvetayeva bore witness to the turmoil and devastation of the Revolution, and chronicled her difficult life in exile, sustained by the inspiration and power of her modern verse.The poems in this selection are drawn from eleven volumes published over thirty years.

    It is indexed alphabetically, chronologically and by category, making it easier to access individual books, stories and poems. This collection offers lower price, the convenience of a one-time download, and it reduces the clutter in your digital library. All books included in this collection feature a hyperlinked table of contents and footnotes. The collection is complimented by an author biography. Table of Contents: Fiction :: Non-Fiction :: Plays :: Short Stories :: PoetryFictionThe Celtic TwilightNon-FictionFour YearsPlaysCathleen Ni HoulihanThe Countess CathleenThe Hour GlassThe Land Of Heart's DesireThe Unicorn from the StarsShort StoriesThe Crucifixion Of The OutcastThe Curse of the Fires and of the ShadowsThe Heart of the SpringOf Costello the ProudThe Old Men of the TwilightOut of the RoseRosa AlchemicaStories of Red HanrahanSynge And The Ireland Of His TimeWhere There is Nothing, There is GodPoetryAgainst Unworthy PraiseThe ArrowBaile And AillinnThe Black TowerBroken DreamsThe DollsEaster, 1916Ego Dominus TuusThe Everlasting VoicesThe Fiddler of DooneyThe FishThe Harp of AengusHer PraiseHe Wishes For The Clothes Of HeavenThe Host Of The AirThe Hosting Of The SidheIn the Seven WoodsAn Irish Airman Foresees his DeathKing And No KingThe Lake Isle Of InnisfreeLapis LazuliLeda And The SwanLove and DeathThe Lover Tells Of The Rose In His HeartMad as the Mist and SnowThe MaskThe MoodsNo Second TroyO Do Not Love Too LongThe Old Age Of Queen MaevePoliticsA Prayer for my DaughterThe Rose TreeSailing to ByzantiumThe Second ComingThe Secret RoseThe Seven SagesThe Shadowy WatersThe Song of the Happy ShepherdThe Stolen ChildSwift's EpitaphThose Dancing Days Are GoneThe Three BeggarsThe TowerTo A Young BeautyTo A Young GirlTo The Rose Upon The Rood Of TimeTowards Break Of DayThe Two TreesWhat Was LostThe WheelWhen You Are OldThe Wild Swans At CooleThe Wisdom Of The King

    Barnes with a forward by Louis Untermeyer HC/DJ New York: Charles Scribner's Sons, 1945

    Like Daumal's Mount Analogue it is a classic work of symbolic fiction. An unnamed narrator spends an evening getting drunk with a group of friends.; as the party becomes intoxicated and exuberant, the narrator embarks on a journey that ranges from seeming paradises to the depths of pure hell. The fantastic world depicted in A Night of Serious Drinking is actually the ordinary world turned upside down. The characters are called the Anthographers, Fabricators of useless objects, Scienters, Nibblists, Clarificators, and other absurd titles. Yet the inhabitants of these strange realms are only too familiar: scientists dissecting an animal in their laboratory, a wise man surrounded by his devotees, politicians, poets expounding their rhetoric. These characters perform hilarious antics and intellectual games, which they see as serious attempts to find meaning and freedom.

    “Every beautiful poem is an act of resistance.” As always, Darwish’s musings on unrest and loss dwell on love and humanity; myth and dream are inseparable from truth. “Truth is plain as day.” Throughout the book, Darwish returns frequently to his ongoing and often lighthearted conversation with death.Mahmoud Darwish (1941–2008) was awarded the Lannan Prize for Cultural Freedom in 2001. He was regarded as the voice of the Palestinian people and one of the greatest poets of our time.

    His poems are widely considered the most important contribution to Italian literature since Montale and, along with the work of Brecht and Neruda, represent the most powerful political poetry of the century. This dual-language book presents his major poems as well as an autobiographical essay, which together make for an outstanding introduction to Pasolini's exceptional gifts as a poet.

    Pindar's Epinician Odes - choral songs extolling victories in the Games at Olympia, Delphi, Nemea and Korinth - cover the whole spectrum of the Greek moral order, from earthly competition to fate and mythology. But in C. M. Bowra's clear translation his one central image stands out - the successful athlete transformed and transfigured by the power of the gods.

    With the same dazzling mix of emotion and idea that characterizes his novels, Kundera revisits the artists who remain important to him, and whose works help us better understand the world we live in and what it means to be human. An astute reader of fiction, Kundera brings his extraordinary critical gifts to bear on the paintings of Francis Bacon, the music of Leos Janacek, and the films of Federico Fellini, as well as the novels of Philip Roth, Fyodor Dostoyevsky, and Gabriel García Márquez, among others. He also takes up the challenge of restoring to its rightful place the work of Anatole France and Curzio Malaparte, major writers who have fallen into obscurity.Milan Kundera's signature themes of memory and forgetting, the experience of exile, and the championing of modernist art are here, along with more personal reflections and stories. Encounter is a work of great humanism. Art is what we possess in the face of evil and the darker side of human nature. Elegant, startlingly original, and provocative, Encounter follows in the footsteps of Kundera's earlier essay collections, The Art of the Novel, Testaments Betrayed, and The Curtain.

    Poems selected from Verlaine's first six books of verse are presented in the original French as well as in English translation.

    "Savoir," by Hélène Cixous, is a brief but densely layered account of her experience of recovered sight after a lifetime of severe myopia, an experience that ends with the unexpected turn of grieving for what is lost. Her literary inventiveness mines the coincidence in French between the two verbs savoir (to know) and voir (to see). Jacques Derrida's "A Silkworm of One's Own" complexly muses on a host of autobiographical, philosophical, and religious motifs—including his varied responses to "Savoir." The two texts are accompanied by six beautiful and evocative drawings that play on the theme of drapery over portions of the body.Veils suspends sexual difference between two homonyms: la voile (sail) and le voile (veil). A whole history of sexual difference is enveloped, sometimes dissimulated here—in the folds of sails and veils and in the turns, journeys, and returns of their metaphors and metonymies.However foreign to each other they may appear, however autonomous they may be, the two texts participate in a common genre: autobiography, confession, memoirs. The future also enters in: by opening to each other, the two discourses confide what is about to happen, the imminence of an event lacking any common measure with them or with anything else, an operation that restores sight and plunges into mourning the knowledge of the previous night, a "verdict" whose threatening secret remains out of reach by our knowledge.