Truthful and magical, his poetry has captivated both Greek and foreign readers. Aptly described by Charlotte Du Cann as 'the unlocker of ancient stones and sea voyages', Seferis was for Peter Levi 'one of the greatest writers in this century in any language...From Seferis it was possible to learn...what seriousness about poetry is'.

    The poetry is surprising in its simplicity, sensual, thoughtful, moving, comic in turns. Author Milan Kundera has called this collection “the tangible expression of the nation’s genius.”

    P. Cavafy (1863 - 1933) lived in relative obscurity in Alexandria, and a collected edition of his poems was not published until after his death. Now, however, he is regarded as the most important figure in twentieth-century Greek poetry, and his poems are considered among the most powerful in modern European literature.Here is an extensively revised edition of the acclaimed translations of Edmund Keeley and Philip Sherrard, which capture Cavafy's mixture of formal and idiomatic use of language and preserve the immediacy of his frank treatment of homosexual themes, his brilliant re-creation of history, and his astute political ironies. The resetting of the entire edition has permitted the translators to review each poem and to make alterations where appropriate. George Savidis has revised the notes according to his latest edition of the Greek text.About the first edition: The best [English version] we are likely to see for some time.--James Merrill, The New York Review of Books [Keeley and Sherrard] have managed the miracle of capturing this elusive, inimitable, unforgettable voice. It is the most haunting voice I know in modern poetry.--Walter Kaiser, The New Republic ?

    The Gardener, a book of prose. Most of the lyrics of love and life, the translations of which from Bengali are published in this book, were written much earlier than the series of religious poems contained in the book name Gitanjali. The verses in this book are far finer and more genuine than even the best in Gitanjali.

    It was first performed at Vanessa Bell's London studio in 1935 as one of Bloomsbury's theatrical evenings and later, in New York, in a star-studded French production. Edited and with a Preface by Lucio P. Ruotolo; drawings by Edward Gorey.

    S. Eliot. In this definitive edition, French and English texts appear on facing pages. Preface by T. S. Eliot.

    With acute irony tempered by a generous curiousity, she documents life's improbability as well as its transient beauty.

    In acclaimed stories such as 'Rain', 'The Letter', 'The Vessel of Wrath' and 'The Alien Corn', Maugham illustrates his wry perception of human weakness and his genius for evoking compelling drama and an acute sense of time and place.

    

    He conveys a sense of what it is like to be a private citizen in the second half of the twentieth century.

    He is turned away but not before learning that one of the most adept of the old priestesses, or sibyls, lives in disgrace in the mountains above the temple. In her rude goat-hut he seeks the meaning of his disastrous brush with the son of God. She reveals that she, too, has been touched by the son of a god, a very different son, not quite human, born of her own body. He dwells with her as a constant reminder of the betrayal of her mystical and erotic union with the divine, her punishment, and perhaps her redemption.

    But as soon as I pick up the pen I'm overcome by horror." Margarita Karapanou’s third novel is, like roulette, a breathtaking, suspenseful game. The story is simple: a love affair ends badly. A woman and a man marry, and their marriage leads them to cruelty, infidelity, and divorce. But here their story is told twice, from opposing perspectives. We don’t know whom to trust; the distinction between truth and deception blurs, then seems to disappear. It becomes impossible to tell love story from horror story, as Karapanou explores just what makes us want to read one or the other, just what makes each so tempting to write. The result is an ironic, seductive, brutal experiment, a devastating exploration of what it can mean to narrate any life. This novel refuses to shy from the moment of rien ne va plus—the moment in roulette when all bets are off and the game becomes fate; when, with an impossible faith, a masterly writer tells of her own dissolution.

    Chosen by the distinguished scholar and critic, Dame Helen Gardner, the book makes available in one volume the full range and variety of English non-dramatic verse. Dame Helen Gardner reflected the critical consensus of the day in broadening her choices beyond those of Quiller-Couch's lyrical tastes, and the anthology balances poems that deal with public events and historic occasions with poems of private life, and religious, moral or political verse with satire and light verse. All the major poets are fully represented, and there are also superb works by lesser known poets, and many surprises among the favourites.

    The 12 tales in this book vary in setting from a Polaris base in Scotland to a frail remnant of hippy "happiness" in Tasmania, and in subject-matter from male gynaecologists' interference with female organs to a rich woman confessing to the night sea that she has lied and cheated and "murdered".

    His 1st poems appeared in the context of the Young Bosnia movement. The writing of its members is in marked contrast to their robust active personalities. The poems Andrić published before WWI are virtually indistinguishable in tone from much of what his contemporaries were writing. Nevertheless, it's probably true to say that in his case the role of the political activist, however sincerely he played it at the time, was fundamentally unsuited to him. By contrast, however, the prevailing melancholy seemed to match his temperamental reponse to the world. These early poems point in no particular direction, beyond establishing the free verse form of virtually all of Andrić’s poetry and a tendency to a mournful self-pity which sometimes threatens his personal statements. The prose poems written during the War represent a personal conffesion & cannot be considered merely the reflection of a literary vogue. “Ex Ponto” (refers to Ovid’s account of his Black Sea exile) was published in 1918; “Unrest” in 1920, when “Ex Ponto” was already reprinted. Thereafter Andrić refused to allow them to be included in any of his collections of his works published before his death. He rejected them because they seemed to him too intimate. But, they're important since they contain ideas & themes which recur in his later works. The strong emotional colouring was toned down in Andrić’s later prose poems & verse but their form, a combination of aphoristic statements & longer reflective passages, continued to appeal to him. “Ex Ponto” & “Unrest” record his emotional reaction to the circumstances of his early life & the development of a number of themes around the central paradox of his personality & work.