Kids love him and his poetry...and so do adults, a combination of approbation that is unusual in today's world.

    When two women, an amnesiac albino giantess and a woman called The Crab, arrive in this South American desert town, their otherworldly allure and unfettered sensuality and turns men into wild animals.A modern day Kafka story on hallucinogens, with strong doses of mysticism and horror, Albina and the Dog Men reads like an ancient folk tale whispered at night, fused with an urgent critique of contemporary society. Its essence is dark magical realism that throws into question the nature of what it is to be human.“The man of his time, which is to say, our time… A shaman and apprentice, always polemical, often wild, ubiquitous and cosmopolitan… A wild story with eroticism, nasty insults, nudity, sexuality, lyricism, and a magical-scatological aura.”—ENcontrARTE“Jodorowsky uses his fertile imagination to present a mixed bag of historical and imaginary characters, such as the Inca King, Atahualpa, and a cast of half-humans and half-beasts that possess magical powers… Very well crafted… Strongly recommended.”—Publishers Weekly“One of the most important Latin American writers… An almost cinematic story, a novel that becomes more magical and mysterious each time a new page is turned… An impassioned and carnal novel like few that have been as well received by the general public.”—Area Libros“Lucid as few members of his generation are, Alejandro Jodorowsky has published Albina and the Dog Men… [which has] the aesthetic he made a show of in Where the Bird Sings Best: extreme magical realism to the limits of sexuality and spirituality… In in the classic format of adventure novels, Jodorowsky proposes a search for the philosophy of sex through a literature that aims more for healing than for aesthetics. As Antonio Escohotado showed, the road toward beatitude starts with well-prepared genitals. And Jodorowsky knows it.”—Proscritos“Albina and the Dog Men is a fantastical novel that goes far beyond the reader’s mere entertainment… Jodorowsky looks to break mental and psychological taboos that prevent many people from being themselves… Only the life experience of a psychological maestro like Alejandro Jodorowsky could give birth to this excellent novel. Enjoy it!”—Lux AteneaAlejandro Jodorowsky was born to Ukrainian Jewish immigrants in Tocopilla, Chile. From an early age, he became interested in mime and theater; at the age of 23, he left for Paris to pursue the arts, and has lived there ever since. A friend and companion of Fernando Arrabal and Roland Topor, he founded the Panic movement and has directed several classic films of this style, including The Holy Mountain, El Topo and Santa Sangre. A mime artist, specialist in the art of tarot, and prolific author, he has written novels, poetry, short stories, essays, and over thirty successful comic books, working with such highly regarded comic book artists as Moebius and Bess. Restless Books will be publishing three of Jodorowsky's best-known books for the first time in English: Donde mejor canta un pájaro (Where the Bird Sings Best), El niño del jueves negro (The Son of Black Thursday), and Albina y los hombres perro (Albina and the Dog Men).

    Contributors include Ariel Dorfman, Pablo Neruda, Salvador Allende, Fidel Castro.Contents:The last September 11 by Ariel DorfmanI begin by invoking Walt Whitman by Pablo NerudaLast words transmitted by Radio Magallanes, September 11, 1973 by Salvador AllendeThe coup by Joan JaraAn unfinished song by Joan JaraEstadio Chile by Victor Jara"We never saw him hesitate," September 28, 1973 by Beatriz AllendeDeath of a poet by Matilde Neruda, Joan JaraPortrait of a man by Pablo NerudaOn the coup in Chile by Fidel Castro

    Eliot to Wallace Stevens), suffered many tragedies. His mother died when he was just five years old, but in 1879 the cruelest blow of all struck when his beloved son Anatole died at the age of eight. A Tomb for Anatole presents the 202 fragments of Mallarme's projected long poem in four parts. By far the poet's most personal work, he could never bring himself to complete it. To speak publicly of his immense sorrow, Mallarme concluded, "for me, it's not possible." Unpublished in France until 1961, these works are very far from the oblique, cool "pure poetry" Mallarme is famous for, poetry that sought to capturepainstakingly"l'absente de tous bouquets" (the ideal flower absent from all bouquets). Paul Auster, who first published A Tomb for Anatole with the North Point Press in 1983 (a volume long out of print), notes in his excellent introduction that facing "the ultimate horror of every parent," these fragments "have a startling unmediated quality." As Mallarme writes, it is "a vision / endlessly purified / by my tears."

    In the end, however, it is a meditation on the nature of totalitarian regimes, on the transition to democracy after the end of such regimes, and on the power of language to create and define reality. Ricardo Piglia combines his trademark avant-garde aesthetics with astute cultural and political insights into Argentina’s history and contemporary condition in this conceptually daring and entertaining work.The novel follows Junior, a reporter for a daily Buenos Aires newspaper, as he attempts to locate a secret machine that contains the mind and the memory of a woman named Elena. While Elena produces stories that reflect on actual events in Argentina, the police are seeking her destruction because of the revelations of atrocities that she—the machine—is disseminating through texts and taped recordings. The book thus portrays the race to recover the history and memory of a city and a country where history has largely been obliterated by political repression. Its narratives—all part of a detective story, all part of something more—multiply as they intersect with each other, like the streets and avenues of Buenos Aires itself. The second of Piglia’s novels to be translated by Duke University Press—the first was Artifical Respiration—this book continues the author’s quest to portray the abuses and atrocities that characterize dictatorships as well as the difficulties associated with making the transition to democracy. Translated and with an introduction by Sergio Waisman, it includes a new afterword by the author.

    Whether writing about his responsibility for a brother’s death during a hunting accident, drug addiction, or being jailed during the Civil Rights struggle, lyricism erupts in the midst of desolation and violence. Orr’s spare, succinct poems distill myth from the domestic and display a richness of action and visual detail.This long-awaited collection is soulful work from a remarkable poet, whose poems have been described as "mystical, carnal, reflective, and wry." (San Francisco Review)"Love Poem"A black biplane crashes through the window of the luncheonette. The pilot climbs down, removing his leather hood. He hands me my grandmother’s jade ring. No, it is two robin’s eggs and a telephone number: yours.from "Gathering the Bones Together"A father and his four sons run down a slope toward a deer they just killed. the father and two sons carry rifles. They laugh, jostle, and chatter together. A gun goes off and the youngest brother falls to the ground. A boy with a rifle stands beside him, screaming…"Orr’s is an immaculate style of latent violence and inhibited tenderness, charged with a desperate intensity whose source is often obscure."—The New York Times Book ReviewGregory Orr is the author of seven volumes of poetry and three books of criticism. He is the editor at Virginia Quarterly Review, teaches at the University of Virginia, and lives with his wife and daughters in Charlottesville. In 2002, along with his selected poems The Caged Owl, he will also publish a memoir and a book about poetry writing: Three Strange Angels: Trauma and Transformation in Lyric Poetry.Also Available by Gregory Orr:Orpheus & Eurydice: A Lyric Sequence TP $12.00, 1-55659-151-9 • CUSA

    Later published as a book, Una excursion a los indios ranqueles constitutes one of the few literary works that presents a vivid and testimonial account of a peaceful encounter between the native inhabitants of the South and those who consider themselves to be representatives of European civilization and of the Argentina of the future.Esteemed for its humor and narrative originality, Lucio V. Mansilla's Una excursion a los indios ranqueles is comparable to Sarmiento's Facundo and the two complement each other. Mansilla's book offers penetrating observations about the fundamental aspects of the confrontation between "civilization and barbarism," as well as about immigration, racial and ethnic diversity, private property ownership and land tenure. Juan Manuel de Rosas had dominated a large part of the country between 1829 and 1852 and despite having led successful expeditions against the indigenous frontier populations, the situation of the "Indian question" after his fall from power was a problematic one.In 1869, after a peace treaty was signed, Mansilla was sent to the tense frontier zone on a fact-finding mission. Colonel Mansilla, an experienced and cultured aristocrat, as well as a nephew of Rosas' (which he wrote "Rozas), was an exception in his era for his advocacy of an open dialogue as the best solution for the "Indian problem." Eventually the peaceful treaty he sought with the Ranqueles was rejected by the government, which gradually established policies of ethnic cleansing and land expropriation.Mansilla, with subtle humor, titled his expedition an "excursion," elegantly minimizing the dangers it entailed and avoiding any allusion to his disobedience to orders. During the trip Mansilla wrote a series of letters to a friend which were later published in La Tribuna of Buenos Aires. His detailed observations offer, besides a sharp-eyed and amusing commentary, quantities of ethnographic information, particularly valuable since shortly after that the majority of indigenous people in the south of Argentina were exterminated or assimilated.This book, as well as his participation in political and social events, established Lucio V. Mansilla as one of the dominating figures of the "Generation of 1880," which is so important in the literary and intellectual development of modern Argentina. This edition, by Saul Sosnowski, is an updated version of the text published by Biblioteca Ayacucho in 1984, to which he has added many very useful footnotes that aid in fuller comprehension of the text."

    Bilingual edition in Spanish and English. Translated by Margaret Sayers Peden. Margaret Sayers Peden, who is well known and respected for her translations of Fuentes, Neruda, Quiroga, and Paz, has made an admirable selection of poems that includes romances, redondillas, epigrams, decimas, sonnets, silvas, villancicos, and two excerpts from Sor Juana's theater. The introduction and notes provide the necessary context for those unfamiliar with the poet's life and times. "Her sprightly English versions of these technically exacting poems...would, I am sure of it, have pleased Sor Juana herself"--Alastair Reid.

    In Danger is the first anthology in English devoted to his political and literary essays, with a generous selection of his poetry. Against the backdrop of post-war Italy, and through the mid-'70s, Pasolini's writings provide a fascinating portrait of a Europe in which fascists and communists violently clashed for power and where journalists ran great risks. The controversial and openly gay Pasolini was murdered at the age of fifty-three; In Danger includes his final interview, conducted hours before his death.

    These deeply moving literary epistles reveal the happiness and torment of love, as the writers tell of their pain at separation, forgiveness of infidelity or anger at betrayal. The faithful Penelope wonders at the suspiciously long absence of Ulysses, while Dido bitterly reproaches Aeneas for too eagerly leaving her bed to follow his destiny, and Sappho - the only historical figure portrayed here - describes her passion for the cruelly rejecting Phaon. In the poetic letters between Paris and Helen the lovers seem oblivious to the tragedy prophesied for them, while in another exchange the youthful Leander asserts his foolhardy eagerness to risk his life to be with his beloved Hero.

    Eliot’s The Waste Land, Pablo Neruda’s Residencia en la tierra, and Federico Garcia Lorca’s Poeta en Nueva York. It marks a major departure from the light-hearted tone of the poet's earlier verse, which was notably influence by Andalusian folksong. It is at once intensely imaginative and intimately realistic, a lyrical illumination of the poet’s “dark night of the soul.”Rafael Alberti, born in 1902, is the last surviving member of the so-called Generation of 1927 that included such notable Spanish poets Federico García Lorca, Vincente Alexandre, Pedro Salinas, Jorge Guillen, and Luis Cernuda.Christopher Sawyer-Laucanno lives in Massachusetts and teaches in the program in Writing and Humanistic Studies at MIT.

    On the primitive frontier of desert and mountain in the backwoods of Brazil, fifty-two hundred houses and every man, woman, and child who lived in them had been destroyed. The ten-month-long house-to-house battle, the agony of guerrilla warfare, the bitterness of "scorched earth" retreat was ended. The federal army of Brazil had defeated the religious mystic, the fanatic street preacher, the Messiah to thousands, who had led from December, 1986, to October, 1897, the strangest of all rebellions.Yet Antonio Conselheiro's personal war did not go unsung. Os Sertões—called Brazil's greatest epic—is Euclides da Cunha's searing, moving account of Conselheiro's struggle. It is a valiant cry of protest against oppression of the weak by the strong and a wise and compassionate record of a shocking totalitarian crime perpetrated against a handful of backwoodsmen in a little-known corner of the world.In this brilliant English translation by Samuel Putnam, Rebellion in the Backlands retains its force as a classic contribution to man's understanding of the human spirit and the human struggle.

    This lens is the secret of narration, and it is ground anew in every story, ground between the temporal and the timeless . . . . In our brief mortal lives, we are grinders of these lenses."This brooding, provocative, and almost unbearably lovely book displays one of the great writers of our time at his freest and most direct, addressing the themes that run beneath the surface of all his work, from Ways of Seeing to his Into Their Labours trilogy.In an extraordinary distillation of his gifts as a novelist, poet, art critic, and social historian, John Berger reveals the ties between love and absence, the ways poetry endows language with the assurance of prayer, and the tensions between the forward movement of sexuality and the steady backward tug of time. He re-creates the mysterious forces at work in a Rembrandt painting, transcribes the sensorial experience of viewing lilacs at dusk, and explores the meaning of home to early man and to the hundreds of thousands of displaced people in our cities today.A work of unclassifiable innovation and consummate beauty, And Our Faces, My Heart, Brief as Photos reminds us of Nabokov and Auden, Brecht and Lawrence, in its seamless fusion of the political and the personal.

    Whether Jeffrey McDaniel's denouncing insomnia ("4,000 A.M."), exploring family tragedy ("Ghost Townhouse"), or celebrating love and lust ("The Biology of Numbers"), his writing is so profoundly original, so funny, twisted, and literary simultaneously, you won't know whether to laugh or cry, but you'll definitely keep reading.

    He has released several records, including one with Bob Marley and the Wailers. His plays have been widely performed, and he has presented, appeared in, or been the subject of, numerous TV programs, including the East Enders. His other poetry books include The Dread Affair and City Psalms (Bloodaxe/Dufour).