From all across the continent come tales of creation and love, of heroes and war, of animals, tricksters, and the end of the world. Alfonso Ortiz, an eminent anthropologist, and Richard Erdoes, an artist and master storyteller, Indian voices in the best folkloric sources of the nineteenth century to make this the most comprehensive and authentic volume of American Indian myths available anywhere.With black-and-white drawings throughoutPart of the Pantheon Fairy Tale and Folklore Library

    Childhood tells the story of a misfit child's single-minded determination to become a poet; Youth describes her early experiences of sex, work, and independence. Dependency picks up the story as the narrator embarks on the first of her four marriages and goes on to describe her horrible descent into drug addiction, enabled by her sinister, gaslighting doctor-husband.Throughout, the narrator grapples with the tension between her vocation as a writer and her competing roles as daughter, wife, mother, and drug addict, and she writes about female experience and identity in a way that feels very fresh and pertinent to today's discussions around feminism. Ditlevsen's trilogy is remarkable for its intensity and its immersive depiction of a world of complex female friendships, family and growing up--in this sense, it's Copenhagen's answer to Elena Ferrante's Neapolitan Novels. She can also be seen as a spiritual forerunner of confessional writers like Karl Ove Knausgaard, Annie Ernaux, Rachel Cusk and Deborah Levy. Her trilogy is drawn from her own experiences but reads like the most compelling kind of fiction.Born in a working-class neighborhood in Copenhagen in 1917, Ditlevsen became famous for her poetry while still a teenager, and went on to write novels, stories and memoirs before committing suicide in 1976. Having been dismissed by the critical establishment in her lifetime as a working-class, female writer, she is now being rediscovered and championed as one of Denmark's most important modern authors, with Tove fever gripping readers.

    History, culture, and politics are blended and juxtaposed; weather reports, current news, fashions and psychology jostle together with people from Petersburg society in an exhilarating search for the identity of a city and, ultimately, Russia itself. 'The one novel that sums up the whole of Russia.'—Anthony Burgess

    THE WHITE BOOK becomes a meditation on the color white, as well as a fictional journey inspired by an older sister who died in her mother's arms, a few hours old. The narrator grapples with the tragedy that has haunted her family, an event she colors in stark white--breast milk, swaddling bands, the baby's rice cake-colored skin--and, from here, visits all that glows in her memory: from a white dog to sugar cubes.As the writer reckons with the enormity of her sister's death, Han Kang's trademark frank and chilling prose is softened by retrospection, introspection, and a deep sense of resilience and love. THE WHITE BOOK--ultimately a letter from Kang to her sister--offers powerful philosophy and personal psychology on the tenacity and fragility of the human spirit, and our attempts to graft new life from the ashes of destruction.

    Here are myths of gods, heroes and warriors; legends of Buddha, and of the goddess Benten and the god Daikoku; tales of the sea and of Mount Fuji; accounts of superstitions and supernatural beings; observations on the spiritual properties of fans, flowers, dolls and butterflies and much more.The collection begins with the early myths of Japan, which the author describes as "quaint, beautiful, quasi-humorous." These are followed by legends celebrating early heroes and warriors, and the earliest examples of the Japanese romance, "The Bamboo-Cutter and the Moon-Maiden." Many of the legends that follow reflect a poetic love of beauty and of nature. But as the author points out, "there is plenty of crude realism in Japanese legend. We are repelled by the Thunder God's favorite repast, amazed by the magical power of foxes and cats; and the story of 'Hōïchi-the-Earless' and of the corpse-eating priest afford striking examples of the combination of the weird and the horrible."Thirty-two full-page illustrations offer compelling images of Buddha and the Dragon; A Kakemono Ghost; The Jelly-Fish and the Monkey; The Firefly Battle; Tokoyo and the Sea Serpent; Sengen, the Goddess of Mount Fuji; and other subjects of these timeless myths. In addition, the author has included several invaluable appendixes that offer a helpful note on Japanese poetry, a listing of gods and goddesses, a genealogy of The Age of the Gods, and an index of poetical quotations.

    Working his way north over nearly a decade, Kpomassie finally arrived in the country of his dreams. This brilliantly observed and superbly entertaining record of his adventures among the Inuit is a testament both to the wonderful strangeness of the human species and to the surprising sympathies that bind us all.

    Many commentators believe that in the themes it explores, the essay anticipates his later work Notes from the Underground.In June 1862, Dostoevsky left Petersburg on his first excursion to Western Europe. Ostensibly making the trip to consult Western specialists about his epilepsy, he also wished to see firsthand the source of the Western ideas he believed were corrupting Russia. Over the course of his journey he visited a number of major cities, including Berlin, Paris, London, Florence, Milan, and Vienna. He recorded his impressions in Winter Notes on Summer Impressions, which were first published in the February 1863 issue of Vremya (Time), the periodical of which he was the editor.Among other themes, Dostoevsky reveals his Pan-Slavism, rejecting European culture as corrupt and exhorting Russians to resist the temptation to emulate or adopt European ways of life.

    Although he would prefer to write short stories, he earns a living composing obituaries for a newspaper. He longs to see his work published, yet the subjects of his obituaries continue to cling to life. But when he opens the newspaper to see his work in print for the first time, his pride swiftly turns to terror. He and Misha have been drawn into a trap from which there appears to be no escape.

    Written as a result of the author's Greek travels and studies, Cassandra speaks to us in a pressing monologue whose inner focal points are patriarchy and war. In the four accompanying pieces, which take the form of travel reports, journal entries, and a letter, Wolf describes the novel's genesis. Incisive and intelligent, the entire volume represents an urgent call to examine the past in order to insure a future.

    With their elegant prose, witty wordplay and subtle charm, the 104 stories in this selection reveal a world in which nothing is as it seems.

    Illustrated with woodcuts.With black-and-white drawings throughoutPart of the Pantheon Fairy Tale and Folklore Library

    The sketches are written in the "haibun" style--a linking of verse and prose. The title piece, in particular, reveals Basho striving to discover a vision of eternity in the transient world around him and his personal evocation of the mysteries of the universe.

    An excerpt of the book was hailed by Tibor Fisher in the Guardian as “right up there with Catch-22 and Michael Herr’s Dispatches,” and the book won Russia’s inaugural Debut Prize, which recognizes authors who write “despite, not because of, their life circumstances.” In 1995, Arkady Babchenko was an eighteen-year-old law student in Moscow when he was drafted into the Russian army and sent to Chechnya. It was the beginning of a torturous journey from naïve conscript to hardened soldier that took Babchenko from the front lines of the first Chechen War in 1995 to the second in 1999. He fought in major cities and tiny hamlets, from the bombed-out streets of Grozny to anonymous mountain villages. Babchenko takes the raw and mundane realities of war—the constant cold, hunger, exhaustion, filth, and terror—and twists it into compelling, haunting, and eerily elegant prose. Acclaimed by reviewers around the world, this is a devastating first-person account of war by an extraordinary storyteller.

    He attributed his prolific writings to a wide range of alternate selves, each of which had a distinct biography, ideology, and horoscope. When he died in 1935, Pessoa left behind a trunk filled with unfinished and unpublished writings, among which were the remarkable pages that make up his posthumous masterpiece, The Book of Disquiet, an astonishing work that, in George Steiner's words, "gives to Lisbon the haunting spell of Joyce's Dublin or Kafka's Prague." Published for the first time some fifty years after his death, this unique collection of short, aphoristic paragraphs comprises the "autobiography" of Bernardo Soares, one of Pessoa's alternate selves. Part intimate diary, part prose poetry, part descriptive narrative, captivatingly translated by Richard Zenith, The Book of Disquiet is one of the greatest works of the twentieth century.

    Bella's warm, humorous stories of her pious Jewish family are illustrated by 36 of her husband's pen-and-ink line drawings.