The title of this book is taken from Henry Miller's "Into the Night Life" and expresses the way Lawrence Ferlinghetti felt about these poems when he wrote them during a short period in the 1950's—as if they were, taken together, a kind of Coney Island of the mind—a kind of circus of the soul.

    The novel tells the story of the bizarre and destructive customs of a nameless town—burying the dead in trees after filling their mouths with cement to prevent their soul from escaping, or sending a man to swim in the river that courses underneath the town to discover if they will be washed away by a flood—through the eyes of a fourteen-year-old boy who must come to terms with the rhyme and reason of this ritual violence, and with his wild, child-like, and teenaged stepmother, who becomes his playmate. It is through these rituals, and the developing relationships between the boy and the townspeople, that Rodoreda portrays a fully-articulated, though quite disturbing, society. The horrific rituals, however, stand in stark contrast to the novel’s stunningly poetic language and lush descriptions. Written over a period of twenty years—after Rodoreda was forced into exile following the Spanish Civi War—Death in Spring is musical and rhythmic, and truly the work of a writer at the height of her powers.

    Important poems by the late New York poet published in The New American Poetry, Evergreen Review, Floating Bear and stranger places.Often O'Hara, strolling through the noisy splintered glare of a Manhattan noon, has paused at a sample Olivetti to type up thirty or forty lines of ruminations, or pondering more deeply has withdrawn to a darkened ware- or firehouse to limn his computed misunderstandings of the eternal questions of life, coexistence, and depth, while never forgetting to eat lunch, his favorite meal.

    This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

    Mao, at least, is still on view for the masses to see, some two decades after his demise. But no corpse engendered as much intrigue as that of Eva Peron. Elevated to near sainthood in Argentina after her death in 1952, her perfectly preserved corpse was seized by the Argentine Army following the ouster of her husband in 1955. By then, her corpse was the equivalent of a sacred relic, and while army officials wanted to keep it out of the hands of Peronists, they were loath to destroy the corpse for fear of the wrath that might follow. Tomas Eloy Martinez has reassembled the story of the corpse of Eve Peron in Santa Evita, and in the process, produced a riveting, rich book that not only tells the tale of one of the more bizarre sagas in the history of South American politics, but that also gets to the heart of the age-old human impulse to create myths and tell stories.

    She undertakes a trip to her inner self in a narrative game full of surprises. It is a magician's hat from which she reveals amazing and unexpected events. In this book, she mixes literature and life in an aphrodisiacal cocktail of other people's biographies and a semi-fictional autobiography. This is, above all, a torrid story of love and salvation between her and her imagination.

    Take any book of apologetics-that is to say, of theological advocacy-and you will see how many times you will meet with this phrase-"the disastrous consequences of this doctrine." Now the disastrous consequences of a doctrine prove at most that the doctrine is disastrous, but not that it is false, for there is no proof that the true is necessarily that which suits us best. -from "The Rationalist Dissolution" This is the masterpiece of Miguel de Unamuno, a member of the group of Spanish intellectuals and philosophers known as the "Generation of '98," and a writer whose work dramatically influenced a wide range of 20th-century literature. His down-to-earth demeanor and no-nonsense outlook makes this 1921 book a favorite of intellectuals to this day, a practical, sensible discussion of the war between faith and reason that consumed the twentieth century and continues to rage in the twenty-first century. de Unamuno's philosophy is not the stuff of a rarefied realm but an integral part of fleshly, sensual life, metaphysics that speaks to daily living and the real world. Spanish philosopher MIGUEL DE UNAMUNO (1864-1936) was a prolific writer of essays, novels, poetry, and the stage plays. His books include Peace in War (1895), The Life of Don Quixote and Sancho (1905), and Abel Sanchez (1917)."

    But tourists and opportunists are making inroads into the area, and the balance of nature is making a dangerous shift. Translated by Peter Bush.

    His extravagant and hopeless undertakings, his brushes with the law and scrapes with death, and his enduring friendships and unlooked-for love affairs make him a Don Quixote for our day, driven from one place to another by a restless and irregular quest for the absolute. Álvaro Mutis's seven dazzling chronicles of the adventures and misadventures of Maqroll have won him numerous honors and a passionately devoted readership throughout the world. Here for the first time in English all these wonderful stories appear in a single volume in Edith Grossman's prize-winning translation.

    They can survive in the harshest of conditions like nobody else. The noble inmouchar Gacel Sayah, is the master of a large extension of the desert. One day, two fugitives arrive from the north and Gacel, following his ancient and sacred hospitality laws, gives them shelter. However, Gacel doesn't realise that his act of kindness will lead him towards a deadly adventure.

    D. Salinger, Bartleby Co. could be described as a meditation: a walking tour through the annals of literature. Written as a series of footnotes (a non-work itself), Bartleby embarks on such questions as why do we write, why do we exist? The answer lies in the novel itself: told from the point of view of a hermetic hunchback who has no luck with women, and is himself unable to write, Bartleby is an utterly engaging work of profound and philosophical beauty.

    An inland expedition ends in disaster when the group is attacked by Indians.The Witness explores the relationship between existence and description, foreignness and cultural identity.Juan Jose Saer was born in Argentina in 1937 and is considered one of Argentina's leading writers of the post-Borges generation. He died in 2005.

    The novel presents a series of flashes — scenes, moods, dreams, and weather — as the narrator wanders through Barranco (then an exclusive seaside resort outside Lima). In one stunning passage after another, he skips from reveries of first loves, South Pole explorations, and ocean tides to precise and unashamed notations of class and of race: from an Indian woman "with her hard, shiny, damp head of hair — a mud carving" to a gringo gobbling "synthetic milk, canned meat, hard liquor."As the translator notes, The Cardboard House is as "subversive now as when it was written: Adán's uncompromising poetic vision and the trueness and poetry of his voice constitute a heroic act against cultural colonialism."

    Live or Die, her third volume, consists of poems written from January 25, 1962 to February, 1966, many of them published in such leading periodicals as The New Yorker, Harper's and Encounter.These poems are arranged chronologically and compose a fierce and intimate autobiography. The poet speaks with total frankness, her imagery and reference brilliant and hard as diamonds. It is impossible for her to be banal. Much of her experience is rendered as nightmarish, but it is significant that the final poem is stunningly affirmative, its title the single command "Live."This collection is a striking body of work by a poet whose experience is intensely female, whose poetry is strong and powerful.

    Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.