Amazing in its thematic range and stylistic breadth, his poetry "leaps continents and covers war and peace, intolerance and human striving . . . a passionate and essential edition of his collected poems" ( The New York Times).

    "In the writing of Paul Celan even we readers who can hear poetry only dimly in German can sense the greatness of his invention: the cadences of a music tilted against music's complacency; words punished for their plausibility by being reinvented and fused together and broken apart; syntax chopped and stretched to crack and expose its crust of dead rhetoric Michael Hamburger has earned our gratitude for rendering these poems into a reasonably inventive English "Robert Pinsky, THE NEW REPUBLIC.Parallel German text and English translation.

    Since then her work has been translated throughout the world. Edna O'Brien has called Tolstaya "an enchantress." Anita Desai has spoken of her work's "richness and ardent life." Mixing heartbreak and humor, dizzying flights of fantasy and plunging descents to earth, Tolstaya is the natural successor in a great Russian literary lineage that includes Gogol, Yuri Olesha, Bulgakov, and Nabokov.White Walls is the most comprehensive collection of Tolstaya's short fiction to be published in English so far. It presents the contents of her two previous collections, On the Golden Porch and Sleepwalker in a Fog, along with several previously uncollected stories. Tolstaya writes of lonely children and lost love, of philosophers of the absurd and poets working as janitors, of angels and halfwits. She shows how the extraordinary will suddenly erupt in the midst of ordinary life, as she explores the human condition with a matchless combination of unbound imagination and unapologetic sympathy. A New York Review Books Original "Tolstaya carves indelible people who roam the imagination long after the book is put down." --Time

    Petersburg under the guidance and protection of his uncle, a government official. Such is the beginning of this "ordinary story". Alexander Aduyev, a "romantic three times over" (to quote Vissarion Belinsky) gradually sheds his idyllic notions and develops into a heartless and calculating climber.

    In The Captive, Proust’s narrator describes living in his mother’s Paris apartment with his lover, Albertine, and subsequently falling out of love with her. In The Fugitive, the narrator loses Albertine forever. Rich with irony, The Captive and The Fugitive inspire meditations on desire, sexual love, music, and the art of introspection. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).

    AzadovskyThe summer of 1926 was a time of trouble and uncertainty for each of the three poets whose correspondence is collected in this moving volume. Marina Tsvetayeva was living in exile in France and struggling to get by. Boris Pasternak was in Moscow, trying to come to terms with the new Bolshevik regime. Rainer Maria Rilke, in Switzerland, was dying. Though hardly known to each other, they began to correspond, exchanging a series of searching letters in which every aspect of life and work is discussed with extraordinary intensity and passion. Letters: Summer 1926 takes the reader into the hearts and minds of three of the twentieth century's greatest poets at a moment of maximum emotional and creative pressure.

    "We must not aggravate, but ease the last moments of our son," resolved the colonel firmly, and he carefully weighed every possible phase of the conversation, every act and movement that might take place on the following day. But somehow he became confused, forgetting what he had prepared, and he wept bitterly in the corner of the oilcloth-covered couch. In the morning he explained to his wife how she should behave at the meeting.

    . . I love you too", Robert Browning wrote in January 1845, thus initiating the most celebrated literary correspondence of the 19th century. For the next 12 months, he and Elizabeth Barrett exchanged letters and confidences. In this elegant format, the delicate interplay between the poems and the lovers' letters become vividly apparent.Elizabeth Barrett Browning was a prolific writer and reviewer in the Victorian period, and in her lifetime, her reputation as a poet was at least as great as that of her husband, poet Robert Browning. Some of her poetry has been noted in recent years for strong feminist themes, but the poems for which Elizabeth Barrett Browning is undoubtedly best know are Sonnets from the Portuguese.Written for Robert Browning, who had affectionately nicknamed her his "little Portuguese," the sequence is a celebration of marriage, and of one of the most famous romances of the nineteenth century. Recognized for their Victorian tradition and discipline, these are some of the most passionate and memorable love poems in the English language. There are forty-four poems in the collection, including the very beautiful sonnet, "How do I love thee? Let me count the ways."

    Yet like millions of others who suffered during Stalin's reign of terror, she was arrested—on trumped-up charges of being a Trotskyist terrorist and counter-revolutionary—and sentenced to prison. With an amazing eye for detail, profound strength, and an indefatigable spirit, Ginzburg recounts the years, days, and minutes she endured in prisons and labor camps, including two years of solitary confinement. A classic account of survival, Journey into the Whirlwind is considered one of the most important documents of Stalin's regime ever written.

    Among her most famous and controversial works, these three novellas—The Time Is Night, Chocolates with Liqueur (inspired by Edgar Allan Poe’s “The Cask of Amontillado”), and Among Friends—are modern classics that breathe new life into Tolstoy’s famous dictum, “All happy families are alike; every unhappy family is unhappy in its own way.” Together they confirm the genius of an author with a gift for turning adversity into art.

    A monster seeks silence in his territory. A warrior seeks to avenge her murdered son. A dragon ends it all. These familiar components of the epic poem are seen with a novelist’s eye toward gender, genre, and history. Beowulf has always been a tale of entitlement and encroachment — of powerful men seeking to become more powerful and one woman seeking justice for her child — but this version brings new context to an old story. While crafting her contemporary adaptation, Headley unearthed significant shifts lost over centuries of translation; her Beowulf is one for the twenty-first century.

    It includes stories by Chekhov, Gorky, Bunin, Zamyatin, Babel, Nabokov, Solzhenitsyn, and Voinovich; excerpts from Andrei Bely's Petersburg, Mikhail Bulgakov's The Master and Margarita, Boris Pasternak's Dr. Zhivago, and Sasha Solokov's A School for Fools; the complete text of Yuri Olesha's 1927 masterpiece Envy; and poetry by Alexander Blok, Anna Akhmatova, and Osip Mandelstam.

    As Rumi said, "Love will find its way through all languages on its own". In 'teaching my mother how to give birth', Warsan's debut pamphlet, we witness the unearthing of a poet who finds her way through all preconceptions to strike the heart directly. Warsan Shire is a Kenyan-born Somali poet and writer who is based in London. Born in 1988, she is an artist and activist who uses her work to document narratives of journey and trauma. Warsan has read her work internationally, including recent readings in South Africa, Italy and Germany, and her poetry has been translated into Italian, Spanish and Portuguese.

    This new collection of eleven mind-bending and spellbinding tales includes some of Krzhizhanovsky's most dazzling conceits: a provincial journalist who moves to Moscow finds his existence consumed by the autobiography of his room's previous occupant; the fingers of a celebrated pianist's right hand run away to spend a night alone on the city streets; a man's lifelong quest to bite his own elbow inspires both a hugely popular circus act and a new refutation of Kant. Ordinary reality cracks open before our eyes in the pages of Autobiography of a Corpse, and the extraordinary spills out.An NYRB Classics Original

    A collection of poems which includes some of the poet's best-known pieces (The Old Fools, This Be the Verse, The Explosion, and the title poem.