Previously published in the following books: Poems (1935), Out of the Picture (1937), Letters from Iceland (1937), The Earth Compels (1938), Autumn Journal (1939), Plant and Phantom (1941), Springboard (1944), Holes in the Sky (1948) and Blind Fireworks (1929). Compiled by the author.

    That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

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

    In the Western Night brings together in one volume all of the poems to date, including many previously unpublished poems, of one of the most exciting and gifted poets writing today.

    Other poems in the book, especially 'Nocturne' and 'Blue Hour,' are lyric recoveries of the act of remembering, though the objects of memory seem to us vivid and irretrievable, the rage to summon and cling at once fierce and distracted.

    The revision covers all the poems published in Princeton's earlier bilingual edition, "George Seferis: Collected Poems" (expanded edition, 1981). Winner of the Nobel Prize for Literature in 1963, George Seferis (1900-71) has long been recognized as a major international figure, and Keeley and Sherrard are his ideal translators. They create, in the words of Archibald MacLeish, a "translation worthy of Seferis, which is to praise it as highly as it could be praised."Although Seferis was preoccupied with his tradition as few other poets of the same generation were with theirs, and although he was actively engaged in the immediate political aspirations of his nation, his value for readers lies in what he made of this preoccupation and this engagement in fashioning a broad poetic vision. He is also known for his stylistic purity, which allows no embellishment beyond that necessary for precise yet rich poetic statement.

    It concludes with excerpts from his creative writings such as Monsieur Teste and the drama Mon Faust.The list of translators for this volume is distinguished. Among them are Lionel Abel, Léonie Adams, Malcolm Cowly, James Kirkup, C. Day Lewis, Jackson Mathews, Louise Varese, and Vernon Watkins.

    Compulsively readable, full of fear and persistence, they resonate with the wildness and generosity of Ginsberg, Whitman, and Ted Berrigan, turning the everyday into an encompassing, harrowing, humorous, necessary vision. Beckman is, as Publishers Weekly notes, “the real thing.”Joshua Beckman is the author of numerous poetry collections, translations, and collaborative works. His awards include a NYFA Fellowship and a Pushcart Prize. He lives in Seattle and New York.

    Her new collection of poems, Hello, the Roses, is composed of three parts. The opening poems delve into an array of unities, of myth and landscape, fashion and culture, experience and forgetting, boys and ravens. The central poems explore an invisible world where plants, animals, and the self communicate and coexist. The final part contemplates the individual’s relationship to night, weather, and cosmological time as Berssenbrugge limns a karmic temporal continuum, a mandala of perception. Throughout are the roses, transforming slowly, almost imperceptibly,deepening awareness, creating fields: a rosette of civilization — a wild rose, a Delphic rose, imagined roses, white cabbage roses, an Apache rose, a Bourbon rose, our sacred mortality “saturated with being” in pink petals and gray-green leaves. Hello, the Roses is poetry enraptured with the phenomenal fullness of the world.

    The editing, with excellent notes, excerpts from Brecht's own views about poetry and Mr. Willett's concise introduction is exemplary. Most important, the translations by 35 poets, among them H.R. Hayes, Peter Levi, Christopher Middleton, and Naomi Replansky, maintain a high standard of accuracy and often convey a very clear idea of the texture and feeling of the German." --Stephen Spender, "The New York Times Book Review"

    

    Translated from the French by Barbara Wright. In this classic later work from French novelist Nathalie Sarraute, one finds a "delectably austere, beady-eyed book.... Phrases that give rise to the scenes or episodes are ordinary enough until Sarraute imagines for them a context which turns them from bland civilities into weapons of psychological warfare. Friends meet and converse, in a cafe or in the street, and are all sociability; except underneath, where the best of friends can be the most savage of opponents. Sarraute resorts sardonically to metaphor to indicate what words will not capture: the shameful and ineffable animosities that...imperil our urbanity" (The Times Literary Supplement).

    The works collected here represent the wealth, the breadth, and the tremendous energy of poetry in the United States today. Featuring poems from some of our country’s top bards, including John Ashbery, Anne Carson, Louise Glück, Sharon Olds, and Charles Simic, The Best American Poetry 2010 also presents poems that poignantly capture the current moment, such as the sonnets John Updike wrote to chronicle his dying weeks. And there are exciting poems from a constellation of rising stars: Bob Hicok, Terrance Hayes, Denise Duhamel, Dean Young, and Elaine Equi, to name a very few. The anthology’s mainstays are in place: It opens with series editor David Lehman’s incisive foreword about the state of American poetry and has a marvelous introduction by Amy Gerstler. Notes from the poets, illuminating their poems and their writing processes, conclude this delightful addition to a classic series.Dick Allen * John Ashbery * Sandra Beasley * Mark Bibbins * Todd Boss * Fleda Brown * Anne Carson * Tom Clark * David Clewell * Michael Collier * Billy Collins * Dennis Cooper * Kate Daniels * Peter Davis * Tim Dlugos * Denise Duhamel * Thomas Sayers Ellis * Lynn Emanuel * Elaine Equi * Jill Alexander Essbaum * B. H. Fairchild * Vievee Francis * Louise Glück * Albert Goldbarth * Amy Glynn Greacen * Sonia Greenfield * Kelle Groom * Gabriel Gudding * Kimiko Hahn * Barbara Hamby * Terrance Hayes * Bob Hicok * Rodney Jones * Michaela Kahn * Brigit Pegeen Kelly * Corinne Lee * Hailey Leithauser * Dolly Lemke * Maurice Manning * Adrian Matejka * Shane McCrae * Jeffrey McDaniel * W. S. Merwin * Sarah Murphy * Eileen Myles * Camille Norton * Alice Notley * Sharon Olds * Gregory Pardlo * Lucia Perillo * Carl Phillips * Adrienne Rich * James Richardson * J. Allyn Rosser * James Schuyler * Tim Seibles * David Shapiro * Charles Simic * Frank Stanford * Gerald Stern * Stephen Campbell Sutherland * James Tate * David Trinidad * Chase Twichell * John Updike * Derek Walcott * G. C. Waldrep * J. E. Wei * Dara Wier * Terence Winch * Catherine Wing * Mark Wunderlich * Matthew Yeager * Dean Young * Kevin Young

    The ambitious 21,000 line poem is sure to captivate today's reader just as much as its unconventional form surprised those who first rummaged through its pages when it was first published..

    Its subject is the cultural poverty and frustration of a generation of young people on the dole and living on council estates. The play was first staged privately in November 1965 at the Royal Court Theatre, London, before members of the English Stage Society in a time when plays were still censored. With its scenes of violence, including the stoning of a baby, Saved became a notorious play and a cause celebre. In a letter to the Observer, Sir Laurence Olivier wrote: 'Saved is not a play for children but it is for grown-ups, and the grown-ups of this country should have the courage to look at it.' Saved has had a marked influence on a whole new generation writing in the 1990s.Edward Bond is "a great playwright - many, particularly in continental Europe, would say the greatest living English playwright" (Independent)