She has been called “an American virtuoso of the short story form” (Salon) and “one of the quiet giants . . . of American fiction” (Los Angeles Times Book Review). Now, for the first time, Davis’s short stories will be collected in one volume, from the groundbreaking Break It Down (1986) to the 2007 National Book Award nominee Varieties of Disturbance. The Collected Stories of Lydia Davis is an event in American letters.

    Ranging through many languages, he chose for translation writers whose work marked a significant turning point in the development of world literature, or key poems which exemplify what is most vital in a given period or genre. This new enlarged edition, devoted chiefly to poetry, includes some forty pages of previously uncollected material. Anglo-Saxon: The Seafarer. Chinese: (Cathay) Rihaku (Li Po). Bunno, Mei Sheng, T'ao Yuan Ming. Egyptian: Conversations in Courtship. French: du Bellay, de Boufflers, D'Orléans, Lalorgue, Lubicz-Milosz, Rimbaud, Tailhade. Prose: de Gourmont. Hindi: Kabir. Italian: Cavalcanti, St. Francis, Guinicelli, Leopardi, Montanari, Orlandi. Japanese Noh Plays: 15 plays with Fenollosa's commentary. Latin: Catullus, Horace, Navagero, Rutilius. Provençal: Bertrand de Born, Cercalmon, Daniel, Folquet de Romans, Li Viniers, Ventadorn.

    With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape—Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain—persistently emerge and reappear with the dark energy of the inevitable, while at the same time are shot through with the bright aspect of things new-made.              From the outset (“Come here / Come here, little one”), Gluck’s voice has addressed us with deceptive simplicity, the poems in lines so clear we “do not see the intervening fathoms.”  From within the earth’sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

    In February 1916 he founded the Cabaret Voltaire in Zurich. The sound poems and performance art by Ball and the other artists who gathered there were the beginnings of Dada. Ball's extraordinary diaries, one of the most significant products of the Dada movement, are here available in English in paperback for the first time, along with the original Dada manifesto and John Elderfield's critical introduction, revised and updated for the paperback edition, and a supplementary bibliography of Dada texts that have appeared since the 1974 hardcover edition of this book.

    Every night, at a rundown tavern with a magnificent bar called the Cedar Tavern, an extraordinary group or painters, writers, poets, and hangers-on arrive to drink, argue, tell jokes, fight, start affairs, and bang out a powerful new aesthetic. Their style is playful, irreverent, tradition-shattering, and brilliant. Out of these friendships, and these conversations, will come the works of art and poetry that will define New York City as the capital of world culture--abstract expressionism and the New York School of Poetry.A richly detailed portrait of one of the great movements in American arts and letters, The Last Avant-Garde covers the years 1948-1966 and focuses on four fast friends--the poets Frank O'Hara, James Schuyler, John Ashbery, and Kenneth Koch. Lehman brings to vivid life the extraordinary creative ferment of the time and place, the relationship of great friendship to art, and the powerful influence that a group of visual artisits--especially Jane Freilicher, Larry Rivers, and Fairfield Porter--had on the literary efforts of the New York School.The Last Avant-Garde is both a definitive and lively view of a quintessentially American aesthetic and an exploration of the dynamics of creativity.

    Some of the letters collected here are eloquent declarations of love and longing; others contain wrenching accounts of fear, jealousy and betrayal; many share sweet dreams of home. But in all the correspondence – whether from British, American, French, German, Russian, Australian and Canadian troops in the height of battle, or from the heartbroken wives and sweethearts left behind – there lies a truly human portrait of love and war. Each of the letters, many of which have never before been published, is introduced by a brief piece about the characters, some of whom were parted for ever by the tragedy of war; others reunited. A century on from the start of the First World War, these letters offer an intimate glimpse into the hearts of men and women separated by conflict, and show how love can transcend even the bleakest and most devastating of realities.

    Engaging and secretive, provocative and profound, Ryan s poems have generated growing excitement with their appearances in The New Yorker and other leading periodicals. Sometimes gaudily ornamental, sometimes Shaker-plain, here is verse that is compact on the page and expansive in the mind."

    In her verses, we hear the sounds of Max Roach "exploding in the universe," the "blue hallelujahs" of the Philadelphia Murals, and the voice of Odetta "thundering out of the earth." Sanchez sings the praises of contemporaries whose poetic alchemy turns "words into gems": Maya Angelou, Richard Long, and Toni Morrison. And she pays homage to peace workers and civil rights activists from Rosa Parks and Congresswoman Shirley Chisholm to Brother Damu, founder of the National Black Environmental Justice Network. Often arranged in strings of twelve or more, the haiku flow one into the other in a steady song of commemoration. Sometimes deceptively simple, her lyrics hold a very powerful load of emotion and meaning.There are intimate verses here for family and friends, verses of profound loss and silence, of courage and resilience. Sanchez is innovative, composing haiku in new forms, including a section of moving two-line poems that reflect on the long wake of 9/11. In a brief and personal opening essay, the poet explains her deep appreciation for haiku as an art form. With its touching portraits and by turns uplifting and heartbreaking lyrics, Morning Haiku contains some of Sanchez's freshest, most poignant work.

    From fourth-century Li Ch'ung's "Parody of a Lover" to John Betmeman's "Late-Flowering Lust," they re-create, through the revelations of language, that experience of the erotic. Other poets include Theodore Roethke, Robert Graves, Octavio Paz, Joseph Brodsky, Sylvia Plath, Frederico Garcia Lorca, Percy Bysshe Shelley, and many others.

    Bizarre, witty, sad, sometimes caustic, her poems impart a zest for life, and reveal her unique eye for the marvels of the ordinary and her deep sensibility to the paradoxical nature of all human emotions.

    Some poets, such as Bei Dao and Mahmoud Darwish, are acclaimed worldwide, but many more will be new to the reader. The collection includes 400 unique voices—political and apolitical, monastic and erotic—that represent a wider artistic movement that challenges thousand-year-old traditions, broadening our notion of contemporary literature. Each section of the anthology—organized by theme rather than by national affiliation—is preceded by a personal essay from the editors that introduces the poetry and exhorts readers to examine their own identities in light of these powerful poems. In an age of violence and terrorism, often predicated by cultural ignorance, this anthology is a bold declaration of shared humanity and devotion to the transformative power of art.

    The eight-hour work day, the Ponzi scheme and the rhythm and blues have risen from its streets. But Chicago is not just a city of the past. In this dynamic issue, GRANTA brings the one-time industrial hub to life through the eyes of exciting new writers, from home grown stars like George Saunders and Dave Eggers, to immigrants who have come to the city from Bosnia, China and Ethiopia.In this issue, Aleksandar Hemon plays football with Italians and Tibetans along Lake Shore Drive. Chicago born MacArthur 'genius' grant-winning photographer Camilo José Vegara captures the demolition of the city's massive public housing estates. Richard Powers recollects the flood of 1992. Don DeLillo remembers Nelson Algren. Alex Kotlowitz explores the cost of urban violence and Dinaw Mengestu describes moving back home to run his dying father’s messenger business. Plus a sneak preview of Peter Carey's new novel.Finally, Nobel Laureate Wole Soyinka meditates on the meaning of the city's most visible son, Barack Obama. Out of these stories, which will be wrapped in a beautiful cover by Chris Ware, will arise a vivid portrait of a city remaking itself: a city shredded by violence but poised for a new future; a city that once again has a legitimate claim to being the home of the world's best writers.

    Ashes of Izalco brings together a Salvadoran woman and an American man who struggle over issues of love, loyalty, and sociopolitical injustice.

    Chilling and witty, prescient and personal, delectable and tart, these highly imaginative, vintage Atwoodian mini-fictions speak on a broad range of subjects, reflecting the times we live in with deadly accuracy and knife-edge precision.In pieces ranging in length from a mere paragraph to several pages, Atwood gives a sly pep talk to the ambitious young; writes about the disconcerting experience of looking at old photos of ourselves; gives us Horatio's real views on Hamlet; and examines the boons and banes of orphanhood. Bring Back Mom: An Invocation; explores what life was really like for the "perfect" homemakers of days gone by, and in The Animals Reject Their Names she runs history backward, with surprising results.Chilling and witty, prescient and personal, delectable and tart, The Tent is vintage Atwood, enhanced by the author's delightful drawings.

    Now, Nepantla will appear for the first time in print as a survey of poetry by queer poets of color throughout U.S. history, including literary legends such as Audre Lorde, James Baldwin, June Jordan, Ai, and Pat Parker alongside contemporaries such as Natalie Diaz, Ocean Vuong, Danez Smith, Joshua Jennifer Espinoza, Robin Coste Lewis, Joy Harjo, Richard Blanco, Erika L. Sanchez, Jericho Brown, Carl Phillips, Tommy Pico, Eduardo C. Corral, Chen Chen, and more.