O'Hara’s untimely death in 1966 at the age of forty was, in the words of fellow poet John Ashbery, "the biggest secret loss to American poetry since John Wheelwright was killed.” This collection is a reissue of a volume first published by Grove Press in 1957, and it demonstrates beautifully the flawless rhythm underlying O'Hara’s conviction that to write poetry, indeed to live, "you just go on your nerve.”

    Martin's Press, 1994). Encyclopedic in scope, with more than 800 poems, 100 photographs, a historical chronology, index of first lines, and a bibliography. The Complete Poems will be the definitive English language collection of Akhmatova for many years to come.

    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.

    It's something of an underground classic, rediscovered by each new generation. Most recently, the Icelandic pop singer Björk Guðdmundsdóttir cites Story of the Eye as a major inspiration: she made a music video that alludes to Bataille's erotic uses of eggs, and she plans to read an excerpt for an album.Warning: Story of the Eye is graphically sexual, and is only suited for adults who are not easily offended.

    Tartuffe worms his way into Orgon’s household, blinding the master of the house with his religious "devotion," and almost succeeds in his attempts to seduce his wife and disinherit his children before the final unmasking.

    A collection of quintessentially American poems, the seminal work of one of the most influential writers of the nineteenth century.

    He is also a satirical and epigrammatic writer who savagely consoles with laughter. Carmina captures in English both the mordant, scathing wit and also the concise tenderness, the famous love for reluctant Lesbia who is made present in these new versions. A range of English metres and rhymes evoke the epigrammatic power of the many modes and moods of this most engaging, erotic and influential of the Latin poets. He left a mark on Horace, Virgil, Ovid and on the lyric and epigrammatic traditions of all the languages of Europe. Of Len Krisak's Horace translations, Frederic Raphael said, ‘[He] enables us both to enjoy a fresh voice and to hear (and see), very distinctly, what lies behind and within his unintimidated rescripts’. Again in Carmina he works his precise magic.

    And in Pantagruel and its three sequels, Rabelais parodied tall tales of chivalry and satirized the law, theology and academia to portray the bookish son of Gargantua who becomes a Renaissance Socrates, divinely guided in his wisdom, and his idiotic, self-loving companion Panurge.

    Its exciting account of air adventure, combined with lyrical prose and the spirit of a philosopher, makes it one of the most popular works ever written about flying. Translated by Lewis Galantière.

    But since its original prewar translation there has been no completely new version in English. Now, Penguin brings Proust's masterpiece to new audiences throughout the world, beginning with Lydia Davis's internationally acclaimed translation of the first volume, Swann's Way.Swann's Way is one of the preeminent novels of childhood: a sensitive boy's impressions of his family and neighbors, all brought dazzlingly back to life years later by the taste of a madeleine. It also enfolds the short novel "Swann in Love," an incomparable study of sexual jealousy that becomes a crucial part of the vast, unfolding structure of In Search of Lost Time. The first volume of the work that established Proust as one of the finest voices of the modern age — satirical, skeptical, confiding, and endlessly varied in its response to the human condition — Swann's Way also stands on its own as a perfect rendering of a life in art, of the past re-created through memory.

    Bilingual Edition. Translated from the French by William Stone. A precursor of the symbolists and the surreallists, Gerard de Nerval has fascinated many major literary figures, including Proust and Breton, Eliot and Apollinaire, Michaux and Leiris. The great sonnet cycle, in its marvellous combination of spell, quest and dream, continues to fascinate writers, readers and that special category of writerly readers, translators. Menard's translator is the gifted young poet William Stone, who explains his work in a strongly worded essay: "like a partly submerged crocodile, with one amber eye half open, the foreign line sits, waiting for the anxious translator to make a move."

    In the hands of Jean de Meun, who continued de Lorris's work, it assumed vast proportions and embraced almost every aspect of medieval life from predestination and optics, to the Franciscan controversy and the right way to deal with premature hair-loss.

    Presenting itself as an investigation into the suicide of a close friend—perhaps real, perhaps fictional—more than twenty years earlier, Levé gives us, little by little, a striking portrait of a man, with all his talents and flaws, who chose to reject his life, and all the people who loved him, in favor of oblivion. Gradually, through Levé’s casually obsessive, pointillist, beautiful ruminations, we come to know a stoic, sensible, thoughtful man who bears more than a slight psychological resemblance to Levé himself. But Suicide is more than just a compendium of memories of an old friend; it is a near-exhaustive catalog of the ramifications and effects of the act of suicide, and a unique and melancholy farewell to life.

    This is the first new translation into English of this work in over 30 years and the only edition available in the English language. This edition presents the text in its entirety in a bilingual format, and includes an extensive essay on Eluard's works by Mary Ann Caws. This book has had a lasting effect on poets and readers since it exploded unto the literary scene in 1926 and has never been out of print in Europe since.

    This new translation of The Princesse de Clèves also includes two shorter works also attributed to Mme de Lafayette, The Princesse de Montpensier and The Comtesse de Tende.