Thoughtful, provocative, moving, and sometimes mirthful, the poems collected in The Best American Erotic Poems celebrate this exuberant sensuality. These poems range across the varied landscapes of love and sex and desire -- from the intimate parts of the body to the end of an affair, from passion to solitary self-pleasure. With candor and imagination, they capture the delights and torments of sex and sexuality, nudity, love, lust, and the secret life of fantasy. David Lehman, the distinguished editor of the celebrated Best American Poetry series, has culled a witty, titillating, and alluring collection that starts with Francis Scott Key, Emily Dickinson, Walt Whitman, and Hart Crane, encompasses Frank O'Hara, Anne Sexton, John Updike, Charles Simic, Billy Collins, Kevin Young, and Sharon Olds, and concludes with the rising stars of a whole new generation of versifiers, including Sarah Manguso, Ravi Shankar, and Brenda Shaughnessy. In a section of the book that is sure to prompt discussion and further reading, the living poets write about their favorite works of erotic writing. This book will delight, surprise, and inspire.

    A bored clerk, Klaudius Blaugast, pursues his desires down a path spiraling into complete degradation. Homeless and destitute, having lost everything to the evil prostitute Wanda, he seeks redemption in a Prague that has become sybaritic and uncaring — a city in which he has become an outcast among the outcasts. Flashbacks to incidents in his past, hallucinatory revelations of the meaning of events long forgotten, point to the seeds of his eventual downfall.Leppin's final novel, which he never saw published (the typescript languished for decades after his death in the archives in Prague), Blaugast is an indictment of the despotic and vulgar, an exploration of the sadistic tendencies found amongst the "moral" and "respectable." Max Brod's depiction of Leppin as "a poet of eternal disillusionment, at once a servant of the Devil and an adorer of the Madonna" nowhere rings more true than here.

    This sequence of events occurs and recurs in remarkably different variations in Vain Art of the Fugue.In one version, the bus driver ignores the traffic signals and is killed in the ensuing crash. In another, the protagonist is thrown off the bus, and as he chases after it, a crowd of strangers joins him in the pursuit.As the book unfolds, the protagonist, his lovers, and the people he meets become increasingly vivid and complex figures in the crowded Bucharest cityscape. Themes, conflicts, and characters interweave and overlap, creating a book that is at once chaotic and perfectly composed.“As you can see, madam, words are getting staler and staler… idiots have used them like so many wheelbarrows… loaded them up with all kinds of idiotic confessions, with all these ideas, each more stupid than the last… in short, with what people call messages.”

    Mystery, the marvellous, a city transmuted by love, Sanglot's pursuit of the siren Louise Lame, such are the essential ingredients of this the last masterpiece of early Surrealism to remain untranslated into English. It was originally published in 1924 to immediate and lasting acclaim - except from the public authorities who immediately censored whole sections (here restored). Impossible to describe a novel of such virtuosity and bravura, and one which consistently refuses to behave as one expects, characters appear and vanish according to whim or desire, they walk underwater, nonchalantly accept astounding coincidences. It's a hymn to the erotic, an adventure story darkly illumined by the shades of Sade, Lautreamont and Jack the Ripper, a dream both violent and tender, an obsession, in fact the perfect embodiment of the Surrealist spirit: at once joyful, despairing, and effortlessly scandalous.

    Introduction by Richard Bach. Translated by Lewis Galantière and Stuart Gilbert.

    "The work is deeply felt...Bernstein has been there and brought it back. Bernstein is a writer." [William S. Burroughs]

    Originally published in Romanian in 1933, this semiautobiographical novel by the world renowned scholar Mircea Eliade details the passionate awakenings of Alain, an ambitious young French engineer flush with colonial pride and prejudice and full of a European fascination with the mysterious subcontinent. Offered the hospitality of a senior Indian colleague, Alain grasps at the chance to discover the authentic India firsthand. He soon finds himself enchanted by his host's daughter, the lovely and inscrutable Maitreyi, a precocious young poet and former student of Tagore. What follows is a charming, tentative flirtation that soon, against all the proprieties and precepts of Indian society, blossoms into a love affair both impossible and ultimately tragic. This erotic passion plays itself out in Alain's thoughts long after its bitter conclusion. In hindsight he sets down the story, quoting from the diaries of his disordered days, and trying to make sense of the sad affair. A vibrantly poetic love story, Bengal Nights is also a cruel account of the wreckage left in the wake of a young man's self discovery. At once horrifying and deeply moving, Eliade's story repeats the patterns of European engagement with India even as it exposes and condemns them. Invaluable for the insight it offers into Eliade's life and thought, it is a work of great intellectual and emotional power. "Bengal Nights is forceful and harshly poignant, written with a great love of India informed by clear-eyed understanding. But do not open it if you prefer to remain unmoved by your reading matter.It is enough to make stones weep." — Literary ReviewMircea Eliade (1907-1986) was the Sewell L. Avery Distinguished Service Professor in the Divinity School and the Committee on Social Thought at the University of Chicago. Many of his scholarly works, as well as his two-volume autobiography and four-volume journal, are published by the University of Chicago Press. Translated into French in 1950, Bengal Nights was an immediate critical success. The film, Les Nuits Bengali, appeared in 1987.

    . . A violently skewed portrait of the female poet and her Muse, a hyped-up version of Stevens and his interior paramour, locked in a soliloquy 'in which being there together is enough' . . . Something in Brock-Broido likes stealth, toxicity, wildness, neon--'perfect mean lines' . . . The poems lead off the page." --Helen Vendler, The New Yorker"These poems are out of Stevens in the abundance, glitter, and seductiveness of their language, out of Browning in the authority of their inhabiting, and out of Plath in the ferocity and passion of their holding on--to feeling, to life, and to us . . . An astonishing first book." --Cynthia Macdonald"Brock-Broido's brilliant nervosity and taste for the fantastic impel her to explore the obscure corners of the psyche and the fringes of ordinary human experience . . . The poems in A Hunger are original, strange, often unsettling, and mostly beautiful." --Stanley Kunitz

    It is one of the great love stories, and also one of the most enigmatic: how reliable a witness is Des Grieux, Manon's lover, whose tale he narrates? Is Manon a thief and a whore, the image of love itself, or a thoroughly modern woman? Prevost is careful to leave the ambiguities unresolved, and to lay bare the disorders of passion." This new translation includes the vignette and eight illustrations that were approved by Prevost and first published in the edition of 1753.

    Rauan Klassnik's HOLY LAND is not a book for the faint of heart. His poems--dreamlike fables that conflate the domestic and quotidian with the dangerous and the perverse--are bathed in tears and blood: a trip to the bank becomes a journey to Auschwitz; bullets and gore find equivalence in rivers, birds and lush grass. In Klassnik's startling vision, 'the world knows what you want, and it knows what you need. It brings you bodies. And it brings you a gun.--Gary Young

    Madame is an unexpected gem: a novel about Poland during the grim years of Soviet-controlled mediocrity, which nonetheless sparkles with light and warmth.Our young narrator-hero is suffering through the regulated boredom of high school when he is transfixed by a new teacher --an elegant "older woman" (she is thirty-two) who bewitches him with her glacial beauty and her strict intelligence. He resolves to learn everything he can about her and to win her heart.In a sequence of marvelously funny but sobering maneuvers, he learns much more than he expected to--about politics, Poland, the Spanish Civil War, and his own passion for theater and art--all while his loved one continues to elude him. Yet without his realizing it, his efforts--largely bookish and literary--to close in on Madame are his first steps to liberation as an artist. Later, during a stint as a teacher-in-training in his old school, he discovers that he himself has become a legendary figure to a new generation of students, and he begins to understand the deceits and blessings of myth, and its redemptive power.A winning portrait of an artist as a young man, Madame is at the same time a moving, engaging novel about strength and weakness, first love, and the efforts we make to reconcile, in art, the opposing forces of reason and passion.

    “I must create a myth,” he jotted in his diary, “and become its hero—that’s my idea! . . . [A] Judeo-German metaphysician, descended as if from the XVIIIth century (or that’s how he likes to think of himself) [who talks] about responsibility, about a dialogue of purity with God, about perplexity facing the void.” In the following years, Zacharias Lichter— madman, fool, philosopher, and the weirdest of rebels without a cause—would come to life in Calinescu’s fictional account of his life and opinions, a book written for his private amusement since he assumed the censors would never permit its publication. He was wrong about that, however. The censors were completely oblivious to the subversive humor and intent of his book, which became a cult classic.

    In this brilliant translation by Matvei Yankelevich, English-language readers now have a comprehensive collection of the prose and poetry that secured Kharms s literary reputation a reputation that grew in Russia even as the Soviet establishment worked to suppress it.A master of formally inventive poetry and what today would be called micro-fiction, Kharms built off the legacy of Russian Futurist writers to create a uniquely deadpan style written out of and in spite of the absurdities of life in Stalinist Russia. Featuring the acclaimed novella The Old Woman and darkly humorous short prose sequence Events (Sluchai), Today I Wrote Nothing also includes dozens of short prose pieces, plays, and poems long admired in Russia, but never before available in English. A major contribution for American readers and students of Russian literature and an exciting discovery for fans of contemporary writers as eclectic as George Saunders, John Ashbery, and Martin McDonagh, Today I Wrote Nothing is an invaluable collection for readers of innovative writing everywhere.About the EditorMATVEI YANKELEVICH is also a co-translator of Oberiu: An Anthology of Russian Absurdism (2006). His translation of the Vladimir Mayakovsky's poem "Cloud in Pants" appears in Night Wraps the Sky: Writings by and About Mayakovsky. He is the author of a long poem, The Present Work, and his writing has appeared in Fence, Open City, and many other literary journals. He teaches Russian Literature at Hunter College in New York City and edits the Eastern European Poets Series at Ugly Duckling Press in Brooklyn.

    Toklas had rented in the Rhone Valley, Stanzas in Meditation is one of Stein's most abstract and complex works. It is almost as if Stanzas was conceived as a mirror opposite of The Autobiography of Alice B. Toklas, penned in the same year. The latter, written in a more direct and normative language, brought Stein international acclaim and resulted in the attention she received from 1934 on, while the former remained unavailable until its publication, after her death, in 1956. To Stein readers and admirers, however, this is one of her most important works, a poetic achievement central to her canon. From John Ashbery's groundbreaking essay-review of Stanzas in 1957 to Richard Bridgman's 1970 publication, Gertrude Stein in Pieces, poets and critics have recognized the importance of this masterpiece.

    He accepts the commission, but without any clear idea of whether he will actually go through with the self-immolation. He spends the rest of the day wandering the streets of Warsaw, being tortured by the secret police and falling in love. Both himself and Everyman, the character-author experiences the effects of ideologies and bureaucracies gone insane with, as always in history, the individual struggling for survival rather than offering himself up on the pyre of the greater good. Brilliantly translated by Richard Lourie, A Minor Apocalypse is one of the most important novels to emerge from Poland in the last twenty five years.