After one magical night when they were eighteen, Jess is left heartbroken by Holly.Jess runs away to the city and does everything she can to forget Holly.Fourteen years have passed since she last saw or spoke to Holly. When everything falls apart with Jess's life in the city, she finds herself coming home.Coming home to her small town. Coming home to her Mom. Coming home to herself.

    This new collection contains his first literary endeavor, "Pleasures and Days," translated into English for the first time in 50 years, along with six additional stories, never before seen in English. Critiquing Proust's early stories is like appraising Picasso's four-year-old napkin drawings. There are subtle hints of brilliance, but these callow stories pale in comparison to his enigmatic opus, Remembrance of Things Past. Both works share the glitzy backdrop of Parisian high society and tiptoe through the same topics: addressing vanity, investigating the validity of sexual mores, and pondering the impact of sickness on life. Separated by 17 years, these juvenile tales set the thematic and stylistic table for the unique feast of Proust's mature work. Delicately translated by Neugroschel, the prolific three-time PEN Award winner, these early musings are priceless, insightful venturing into the mind of a maturing virtuoso. This book is a must for inclusive fiction collections.This volume gathers together all of Marcel Proust's short fiction and six tales never before translated into English.

    Acknowledged since the 1930s as a major figure in Modernist poetry, first by Pound and Zukofsky and later by younger writers, the Northumbrian master poet had to wait over 30 years before his genius was finally recognised in Britain - in 1966, with the publication of "BRIGGFLATTS", which Cyril Connolly called 'the finest long poem to have been published in England since T.S. Eliot's "Four Quartets". Bunting called "BRIGGFLATTS" his 'autobiography'. It is a complex work, drawing on many elements of his life, experience and knowledge, and features the saint Cuthbert and the warrior king Eric Bloodaxe as two opposing aspects of the Northumbrian - and his - character. Its structural models include the sonata form (and Scarlatti's music in particular) and the latticework of the Lindisfarne Gospels, while thematically it recalls Wordsworth's "Prelude". Bunting wrote that 'Poetry, like music, is to be heard.' His own readings of his own work are essential listening for a full appreciation of his highly musical poetry. This new edition includes a CD with an audio recording Bunting made of "BRIGGFLATTS" in 1967 and a DVD of Peter Bell's 1982 film portrait of Bunting. As well as his own notes to the poem, the book includes his seminal essay on sound and meaning in poetry, "The Poet's Point of View" (1966). All his poetry is available in "Complet Poems" (Bloodaxe Books, 2000).

    Jim Tomlinson’s characters each face the desire to reclaim dreams left behind, along with something of the dreamer that was also lost. Starkly rendered, these spiraling characters inhabit a specific place and class---small-town Kentucky, working-class America---but the stories, told in all their humor and tragedy, are universal.In each story the characters face conflict, sometimes within themselves, sometimes with each other. Each carries a past and with it an urge to return and repair. In “First Husband, First Wife,” ex-spouses are repeatedly drawn together by a shared history they cannot seem to escape, and they are finally forced to choose between leaving the past or leaving each other. LeAnn and Cass are grown sisters who conspire to help their prideful mother in “Things Kept.” “Prologue” is a voyeuristic journey through the surprisingly different lives of two star-crossed friends, each with its successes and pitfalls, told through their letters over thirty-five years. In “Stainless,” Annie and Warren divide their possessions on the final night of their marriage. Their realtor has advised them to “declutter” the house they are leaving, but they discover that most of the clutter cannot be so easily removed. The choices are never simple, and for every thing kept, something must be abandoned. Tomlinson’s characters struggle but eventually find their way, often unknowingly, to points of departure, to places where things just might change.

    The most dynamic modernist French poet and the champion of the Cubist painters, he is remembered as much for his more traditional lyric poems as for the typographical experiments of his `calligrammes'. Subtle and complex, yet often direct, his poetry is still fresh and memorable. Guillaume Apollinaire was born in Rome in 1880. Educated in Monaco and Nice, he became a French citizen only in 1916, after service in the artillery and infantry. He was badly wounded in the head in 1916, and died during the Paris flu epidemic in 1918. As prose writer and art critic as well as poet, Apollinaire was the moving spirit of French modernism. Oliver Bernard, born in 1925, has worked as an advisory teacher of drama, and was a director of the Speak a Poem Competition from its inception. He has lived in Norfolk for over thirty years.

    Included is a critical introduction, an account of variants, and an essay setting the context for the poem. Completely revised, updated edition of this now classic survey.

    Despite his renown, however, there are few comprehensive collections of his verse available and even fewer translated editions.Translators E. H. and A. M. Blackmore have collected Victor Hugo's essential verse into a single, bilingual volume that showcases all the facets of Hugo's oeuvre, including intimate love poems, satires against the political establishment, serene meditations, religious verse, and narrative poems illustrating his mastery of the art of storytelling and his abiding concern for the social issues of his time. More than half of this volume's eight thousand lines of verse appear here for the first time in English, providing readers with a new perspective on each of the fascinating periods of Hugo's career and aspects of his style. Introductions to each section guide the reader through the stages of Hugo's writing, while notes on individual poems provide information not found in even the most detailed French-language editions.Illustrated with Hugo's own paintings and drawings, this lucid translation—available on the eve of Hugo's bicentenary—pays homage to this towering figure of nineteenth-century literature by capturing the energy of his poetry, the drama and satirical force of his language, and the visionary beauty of his writing as a whole.

    First published in 1608, the commentaries came at an appropriate time. Contemporary accounts noted that witchcraft and sorcery had "spread in all directions," leaving "no country, town, village, or district, no class of society" free from the practice. This probing work, by a distinguished writer and scholar who perceived the devil as an evil force seeking to destroy men's bodies and souls, was an attempt to help man live piously and devoutly, thus guarding against such seductions and manipulations.Reproduced from a rare limited edition published in 1929 and supplemented with many erudite editorial notes by the Rev. Montague Summers, the Compendium Maleficarum includes profoundly serious discussions of witches' pacts with the devil, finely detailed descriptions of witches' powers, poisons, and crimes; sleep-inducing spells and methods for removing them, apparitions of demons and specters, diseases caused by demons, and other topics. Also examined in detail are witches' alleged powers to transport themselves from place to place, create living things, make beasts talk and the dead reappear; witches' use of religion to heal the sick, laws observed by witches to cause and cure illness, differences between demoniacs and the bewitched, and other subjects from the realm of the supernatural.Here is an encyclopedic tract of incalculable worth to the historians and student of the occult and anyone intrigued by necromantic lore, sabbats, sorceries, and trafficking with demons.

    Max Ernst's early-twentieth-century collage-novel calls upon the reader to interpret captions and surrealistic illustrations—created from old picture books and journals—to create a story.

    ‘Hiraeth - A home that never was’ by Mansi Narula Kashyap is a collection of poetry and prose about a home that the author believes does not exist in the real world but still cast a shadow or instil a sense of belongingness towards the same. Each poem will enhance the reader’s imagination, coaxing them to understand the depth of a home that never was.“For just a moment, my heart believes.The home that never was,Still makes me homesick.I do not even remember when we started building it brick by brick?The thieves have come and robbed us of all that we had,Trust, loyalty and love are now just in twisted weaves.”

    With his trademark sense of humor, open-hearted empathy, and perceptive vision, Charles Simic roots his poetry in the ordinary world while still taking in the wide sweep of the human experience.From poems pithy, wry, and cutting—“Time—that murderer/that no has caught yet”—to his layered reflections on everything from love to grief to the wonders of nature, from the story of St. Sebastian to that of a couple weeding side by side, Simic’s work continues to reveal to us an unmistakable voice in modern poetry. An innovator in form and a chronicler of both our interior lives and the people we are in the world, Simic remains one of our most important and lasting voices on the page.

    – Shubhangi Swarup (Latitudes of Longing)

    tr Rosmarie Waldrop, second of 2-vol set

    His unearthly style based on elaborate linguistic riddles and puns fascinated the Surrealists and famously influenced the composition of Marcel Duchamp's -Large Glass, - but also affected writers as diverse as Gide, Robbe-Grillet and Foucault (author of a book-length study of Roussel). The title essay of this collection is the key to Roussel's method, and it is accompanied by selections from all his major works of fiction, drama and poetry, translated by his New York School admirers John Ashbery, Kenneth Koch and Harry Mathews, and the painter and author Trevor Winkfield. Ashbery writes that Roussel's work is -like the perfectly preserved temple of a cult which has disappeared without a trace... we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret.-

    Great Freedom, whereby you are not bound by the life you live in.The writings of Truth that guides you to the life of wisdom, cleanses your mind and leads you to the true and eternal world.