The present edition offers the complete poems together with detailed editorial apparatus in what has become acknowledged as the standard edition by R. George Thomas. It also includes Thomas's remarkable prose War Diary of 1917.

    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.

    

    In Death in the Woods, we travel deep into the heart of America as Anderson saw it, to find an introspective man, in a desolate landscape, questioning the very meaning of his world."Death in the Woods is a signal junction in Anderson's career and is to my mind one of the finest stories in our language."—Jim Harrison

    For decades it drew enough poets, students, and general readers to keep Jeffers—in spite of the almost total academic neglect that followed his fame in the 1920s and 1930s—a force in American poetry.Now scholars are at last beginning to recognize that he created a significant alternative to the High Modernism of Pound, Eliot, and Stevens. Similarly, contemporary poets who have returned to the narrative poem acknowledge Jeffers to be a major poet, while those exploring California and the American West as literary regions have found in him a foundational figure. Moreover, Jeffers stands as a crucial precursor to contemporary attempts to rethink our practical, ethical, and spiritual obligations to the natural world and the environment.These developments underscore the need for a new selected edition that would, like the 1938 volume, include the long narratives that were to Jeffers his major work, along with the more easily anthologized shorter poems. This new selected edition differs from its predecessor in several ways. When Jeffers shaped the 1938 Selected Poetry, he drew from his most productive period (1917-37), but his career was not over yet. In the quarter century that followed, four more volumes of his poetry were published. This new selected edition draws from these later volumes, and it includes a sampling of the poems Jeffers left unpublished, along with several prose pieces in which he reflects on his poetry and poetics.This edition also adopts the texts of the recently completed The Collected Poetry of Robinson Jeffers (five volumes, Stanford, 1988-2000). When the poems were originally published, copy editors and typesetters adjusted Jeffers's punctuation, often obscuring the rhythm and pacing of what he actually wrote, and at points even obscuring meaning and nuance. This new selected edition, then, is a much broader, more accurate representation of Jeffers's career than the previous Selected Poetry.Reviews of volumes inThe Collected Poetry of Robinson Jeffers"A masterful job of contemporary scholarly editing, this book begins an edition intended to clarify a 'Jeffers canon,' establishing for times to come the verse legacy of a poet who looked on all things with the eyes of eternity."—San Francisco Chronicle"This edition will be standard . . . a tribute and justice to a poet whose independent strength has survived to challenge personal and public canons."—Virginia Quarterly Review"Jeffers is the last of the major poets of his generation—Frost, Stevens, Williams, Pound, Moore, Eliot—to get his collected poems. Now that the job is at hand, it is done very well. . . . Tim Hunt has been painstaking in his editorial preparation and judicious in his presentation. . . . A great poet is ready for his due."—Philadelphia Inquirer"Few American poets are treated as well by publishers as Jeffers is by Stanford University Press. . . . These poems represent a distinctive voice in the American canon, and it is good to have them so wonderfully set forth."—Christian Century

    In this revised and expanded collection, renowned translators Chana Bloch and Stephen Mitchell have selected Amichai's most beloved and enduring poems, including forty new poems from his recent work.from Tourists:Once I was sitting on the steps near the gate at David's Citadel and I put down my two heavy baskets beside me. A group of tourists stood there around their guide, and I became their point of reference. "You see that man over there with the baskets? A little to the right of his head there's an arch from the Roman period. A little to the right of his head." "But he's moving, he's moving!" I said to myself: Redemption will come only when they are told, "Do you see that arch over there from the Roman period? It doesn't matter, but near it, a little to the left and then down a bit, there's a man who has just bought fruit and vegetables for his family."

    Heaney's pilgrim is on an inner journey and proceeds through a series of dream encounters which lead him back into the world that formed him, and then forward to face the crises of the present. Writing in The Washington Post Book World, Hugh Kenner called this narrative sequence "as fine a long poem as we've had in fifty years." It is preceded by a section of richly meditative lyrics ("Wry, spare, compressed, subtle, strange, they have a furtive intensity and exicitement." - Richard Ellmann, The New York Review of Books), and leads naturally into a third group of poems, in which the poet's voice is at one with the voice of the legendary Sweeney, a king of Ulster whose story Heaney translated from the Irish.

    

    'Past Continuous' depicts the crises in the lives of the three Israeli men - Goldman, Israel and Caesar - as they attempt to focus their lives and extract meaning from chaos.

    Standing head and shoulders above all other Shakespearean interpretations, this is the masterwork of the brilliant English scholar, G. Wilson Knight. Founding a new and influential school of Shakespearean criticism, Wheel of Fire was Knight's first venture in the field - his writing sparkles with insight and wit, and his analyses are key to contemporary understandings of Shakespeare.

    Included are both the familiar favorites and Kipling's lesser-known works. This is the only complete collection of Kipling's poems available in paperback.

    Stephen Spender for The New York Review of Books commented: "One of the most brilliant strokes in this novel about relations in the Thirties between Italians and Germans is that Moravia never reveals whether his Italian narrator and hero is serious or not, and doubt about the seriousness lies in his being Italian. ... This is the truth of the book: that within the external situation of the Italian Fascist--German Nazi relationship it is impossible to accept as authentic virtually anything people do."Moravia is not simply painting the portrait of an age but also coming to grips through his art with the great questions of all ages - the erotic, love, death, and the purpose of life. 1934 recapitulates the major themes of his art and at the same time takes us beyond them.

    This volume also includes poems and translations never previously collected, and a selection of drafts that demonstrate the poet's constant drive to reimagine his work. Collected Poems at last offers readers the opportunity to take in, in its entirety, one of the great careers in twentieth-century poetry.

    The poetry is surprising in its simplicity, sensual, thoughtful, moving, comic in turns. Author Milan Kundera has called this collection “the tangible expression of the nation’s genius.”

    Her stories portray a young Irish girl's view of obsessive love and its often wrenching pain, while tales of contemporary life show women who open themselves to sexuality, to disappointment, to madness. Throughout, there is always O'Brien's voice—wondrous, despairing, moving—examining passionate subjects that lay bare the desire and needs that can be hidden in a woman's heart.