500 copies. Out of print.Description: Contains all six chapters of the novel together for the first time. It is probable that all through those early years Ambrose's father had been charming his son's heart, drawing him forth from the gehenna-valley of this life into which he had fallen, as one draws forth a beast that has fallen into some deep and dreadful place. Various are the methods recommended. There is the way of what is called moral teaching, the way of physiology and the way of a masterly silence; but Mr. Meyrick's was the strange way of incantation. He had, in a certain manner, drawn the boy aside from that evil traffic of the valley, from the stench of the turmoil, from the blows and the black lechery, from the ugly fight in the poisonous smoke, from all the amazing and hideous folly that practical men call life, and had set him in that endless procession that forever and forever sings its litanies in the mountains, going from height to height on its great quest. Ambrose's soul had been caught in the sweet thickets of the woods; it had been bathed in the pure water of blessed fountains; it had knelt before the altars of the old saints, till all the earth was become a sanctuary, all life was a rite and ceremony, the end of which was the attainment of the mystic sanctity -- the achieving of the Graal. For this -- for what else? -- were all things made. It was this that the little bird sang of in the bush, piping a few feeble, plaintive notes of dusky evenings, as if his tiny heart were sad that it could utter nothing better than such sorry praises. This also celebrated the awe of the white morning on the hills, the breath of the woods at dawn. This was figured in the red ceremony of sunset, when flames shone over the dome of the great mountain, and roses blossomed in the far plains of the sky. This was the secret of the dark places in the heart of the woods. This the mystery of the sunlight on the height; and every little flower, every delicate fern, and every reed and rush was entrusted with the hidden declaration of this sacrament. For this end, final and perfect rites had been given to men to execute; and these were all the arts, all the far-lifted splendor of the great cathedral; all rich carven work and all glowing colors; all magical utterance of word and tones: all these things were the witnesses that consented in the One Offering, in the high service of the Graal.

    Lautreamont bewildered his contemporaries, but the Surrealists modeled their efforts after his black humor and poetic leaps of logic, exemplified by the oft-quoted line, -As beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella.- Maldoror 's shocked first publisher refused to bind the sheets of the original edition--and perhaps no better invitation exists to this book, which warns the reader, -Only the few may relish this bitter fruit without danger.- This is the only complete annotated collection of Lautreamont's writings available in English, in Alexis Lykiard's superior translation. For this latest edition, Lykiard updates his introduction to include recent scholarship.

    Melding the fantastic with historical fiction, these stories describe moments of unexplained violence both historical and imaginary, often blending the two through Schwob’s collaging of primary source documents into fiction. Brimming with murder, suicide, royal leprosy and medieval witchcraft, Schwob’s stories portray clergymen furtively attending medieval sabbaths, Protestant galley slaves laboring under the persecution of Louis XIV and dice-tumbling sons of Florentine noblemen wandering Europe at the height of the 1374 plague. These writings are of such hallucinatory detail and linguistic specificity that the reader is left wondering whether they aren’t newly unearthed historical documents. To read Schwob is to encounter human history in its most scintillating form as it comes into contact with this unparalleled imagination.

    Poems discuss a journey across the ocean, a veterans' cemetery, money, an abandoned collection of dolls, and a man who escapes from his prison cell to commit a murder.

    In these stories of doubt, delusion, and paranoia, no belief, no claim to objectivity, is immune to the distortions of human perception. Here, self-deception is a means of justifying our most inhuman impulses--whether we know it or not.

    As always, Gorey's painstakingly cross-hatched pen and ink drawings are perfectly suited to his oddball verse and prose. The first book of 15, "The Unstrung Harp," describes the writing process of novelist Mr. Clavius Frederick Earbrass: "He must be mad to go on enduring the unexquisite agony of writing when it all turns out drivel." In "The Listing Attic," you'll find a set of quirky limericks such as "A certain young man, it was noted, / Went about in the heat thickly coated; / He said, 'You may scoff, / But I shan't take it off; / Underneath I am horribly bloated.' "Many of Gorey's tales involve untimely deaths and dreadful mishaps, but much like tragic Irish ballads with their perky rhythms and melodies, they come off as strangely lighthearted. "The Gashlycrumb Tinies," for example, begins like this: "A is for AMY who fell down the stairs, B is for BASIL assaulted by bears," and so on. An eccentric, funny book for either the uninitiated or diehard Gorey fans.Contains: The Unstrung Harp, The Listing Attic, The Doubtful Guest, The Object Lesson, The Bug Book, The Fatal Lozenge, The Hapless Child, The Curious Sofa, The Willowdale Handcar, The Gashlycrumb Tinies, The Insect God, The West Wing, The Wuggly Ump, The Sinking Spell, and The Remembered Visit.

    Poems from the 1600s to the present day are beautifully illustrated with images from the unrivaled collection of Japanese paintings and prints in the British Museum. The majority of the poems come from the Tokugawa period (early seventeenth to mid nineteenth centuries) and include works from the best-known Japanese classical authors, female poets and a number of contemporary writers. Nearly all are newly translated by Alan Cummings.From the tender and the melancholy to the witty and the ribald, the poems and images in Haiku Love comment on the most universal of human emotions.

    Paul Muldoon, the distinguished poet and international literary eminence, has selected -- from a pool of several thousand published candidates -- the top seventy-five poems of the year. With insightful comments from the poets illuminating their work, and series editor David Lehman's perspicacious foreword, The Best American Poetry 2005 is indispensable for every poetry enthusiast.

    Written between the ages of 13 and 18, Emilie Autumn's debut poetry book quickly sold out amongst her followers upon its release back in 2000, and the audio version has since become a sought after collector's item.Now, through the magic of digital downloads, this unique spoken word book/album with EA's original musical accompaniment is available again.This edition contains 48 poems, including the well-known "How To Break A Heart," from which New York's Rochester Ballet Company created an original ballet.

    You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

    Beloved for the lens of the strange he places on small town life, Steven Millhauser further reveals in Voices in the Night the darkest parts of our inner selves to brilliant and dazzling effect. Here are stories of wondrously imaginative hyperrealism, stories that pose unforgettably unsettling what-ifs, or that find barely perceivable evils within the safe boundaries of our towns, homes, and even within our bodies. Here, too, are stories culled from religion and fables: Samuel, who hears the voice of God calling him in the night; a young, pre-enlightenment Buddha, who searches for his purpose in life; Rapunzel and her Prince, who struggle to fit the real world to their dream. Heightened by magic, the divine, and the uncanny, shot through with sly and winning humor, Voices in the Night seamlessly combines the whimsy and surprise of the familiar with intoxicating fantasies that take us beyond our daily lives, all done with the hallmark sleight of hand and astonishing virtuosity of one of our greatest contemporary storytellers.

    He was a man on the move, a man who traveled light: and in the end he rode, with all of his possessions, on a rented horse into the Mexican desert to join Pancho Villa -- never to return.Can Such Things Be?Once William Randolph Hearst -- Bierce's employer, who was bragging about his own endless collections of statuary, art, books, tapestries, and, of course real estate like Hearst Castle -- once William Randolph Hearst asked Bierce what he collected. Bierce responded, smugly: "I collect words. And ideas. Like you, I also store them. But in the reservoir of my mind. I can take them out and display them at a moment's notice. Eminently portable, Mr. Hearst. And I don't find it necessary to show them all at the same time." Such things can be. (jacketless library hardcover)

    Illustrated with six color plates by Fredrik Söderberg.English poet-magician Aleister Crowley published White Stains in 1898, an era of intense creativity for the budding magus-to-be.The original edition of a mere 100 copies was printed in Amsterdam with the help of Leonard Smithers (publisher of Beardsley, Wilde, Burton, et al).Part of the editions was later "appropriated" and destroyed by English Customs officers, due to the erotic nature of the poems. In a Victorian Zeitgeist that found Oscar Wilde intensely shocking, Aleister Crowley of course took everything one step further.The virile sexual force stemming from Crowley's pen is but one of his trademark traits here. In this early collection, we also find examples of his remarkable wit, a thorough understanding of psycho-sexual dynamics, bombastic expressions of lyrical love, as well as his beloved Swinburnean structures of classical poetry. White Stains really is Crowley at his youthful best.Crowley used the pseudonym of George Archibald Bishop (a Neuropath of the Second Empire) as a veil, though the name was taken by Crowley from his mother whose maiden name was Bishop.A Fine Cloth Edition in dust jacket. Four color printing. Small Octavo.

    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.

    His sequel to H. P. Lovecraft's 'The Hound' is especially delicious. This is a wonderful book, highly recommended!” —W. H. Pugmire “Richard Gavin is one of the bright new stars in contemporary weird fiction. His richly textured style, deft character portrayal, and powerful horrific conceptions make every one of his tales a pleasure to read.” —S. T. Joshi “If you hear some in Kadath saying, ‘Numinous,’ ‘Terrifying,’ or ‘Beautiful,’ they are either talking about the Northern Lights or the work of Richard Gavin. Canada? They’re calling it Canada now? Whatever.” —Don Webb Canadian author Richard Gavin has established himself as a leading contemporary writer of weird fiction. His richly nuanced prose style, his imaginative range, and his shrewdness in the portrayal of character and domestic conflict make his tales far more than mere shudder-coining. In this fourth collection of short stories and novelettes, Gavin again casts a wide imaginative net, from haunted Canadian woodlands to the carnivorous mesas of the American frontier, from Lovecraft’s New England to the spirit traditions of Japan. Of the dozen stories included in this book, eight are previously unpublished—a rich new feast of terror for devotees of a writer who works in the tradition of Poe, Machen, Blackwood, and Ligotti. Richard Gavin is the author of three previous short story collections, Charnel Wine (2004), Omens (2007), and The Darkly Splendid Realm (2009). Gavin lives in Ontario, Canada, with his beloved wife and their brood.