Bøger udgivet af New Directions Publishing Corporation

"A person who dislikes Ronald Firbank," quipped W. H. Auden, "may, for all I know, possess some admirable quality, but I do not wish ever to see him again." Edmund Wilson pronounced him "one of the finest writers of his period." Part high camp comedy of manners and part fairy tale, Five Novels by Ronald Firbank (1886-1926) is introduced by Osbert Sitwell. Firbank lived a life of exquisite, if lonely, leisure. He composed all his novels on postcards in his countless hotel rooms, always lavish with flowers. His moves were impulsive--"Tomorrow I go to Haiti. They say the President is a Perfect Dear!" ran one telegram to a surprised friend. At a dinner party given in his honor, the pathologically shy author refused to consume anything more than a single pea. His no less eccentric creations, Parvula de Panzoust and her guest Eulalia Thoroughfare of Valmouth, dine on "salmis of cocks'-combs saignant with Béchamel sauce." In The Artificial Princess, a queen with a passion for motoring roars about her realm for hours with her crown on. The Flower Beneath the Foot, Prancing Nigger, and Concerning the Eccentricities of Cardinal Pirelli are also included in this volume. "If only," concludes Sitwell, "we might have the joy of reading a new book from his pen, a book that would be so deliciously unlike any others in the world save his own." It is hoped that this collection will bring more readers that extraordinary experience.

In 1944, New Directions brought out Thomas Merton's first book of verse. By the time of his tragic, untimely death in 1968, Father Louis (as he was known at the Trappist monastery where he lived for twenty-seven years) had published upwards of fifty books and pamphlets, including several more collections of poetry. All of these poems have been assembled in a single, definitive volume (first published by New Directions in 1977) which includes much additional unpublished or uncollected material drawn from the archive of the Merton Studies Center at Bellarmine College in Louisville, Kentucky, or supplied by the poet's friends and associates. Brought together in The Collected Poems of Thomas Merton are: Early Poems (1940-42, published posthumously in 1971), Thirty Poems (1944), A Man in the Divided Sea (1946), Figures for an Apocalypse (1947), The Tear of the Blind Lions (1949), The Strange Islands (1957), Original Child Bomb (1962), Emblems of a Season of Fun (1963), Cables to Ace (1968), and The Geography of Lograire (completed in 1968 and published posthumously). These are followed by Sensation Time at the Home and Other New Poems, a book which Merton completed shortly before his death. There are also sections of uncollected poems, humorous verse, poems written in French, with some English translations, Merton's translations of poetry from various languages, drafts and fragments, and a selection of concrete poems. With the availability of The Collected Poems of Thomas Merton as a New Directions paperbook, an ever wider audience may more fully appreciate the impressive range of the poet's technique, the scope of his concerns, and the humaneness of his vision.

In making this selection, the author writes in his introduction to this paperback edition of early and out-of-print writings, 'my aim has been to show the unity of Ezra Pound's concerns.' The sixty-six pieces in Pound's Selected Prose 1909-1965 are arranged thematically, and while they are organized chronologically within several groupings, there are natural cross-currents of thoughts among them.

The fabulous beauty of Helen of Troy is legendary. But some say that Helen was never in Troy, that she had been conveyed by Zeus to Egypt, and that Greeks and Trojans alike fought for an illusion. A fifty-line fragment by the poet Stesichorus of Sicily (c. 640-555 B.C.), what survives of his Pallinode, tells us almost all we know of this other Helen, and from it H. D. wove her book-length poem. Yet Helen in Egypt is not a simple retelling of the Egyptian legend but a recreation of the many myths surrounding Helen, Paris, Achilles, Theseus, and other figures of Greek tradition, fused with the mysteries of Egyptian hermeticism.

This collection makes available work of one of our greatest American poets in the last decade of his life. The first section, Pictures from Brueghel, contains previously uncollected short poems, while the second and third parts are the complete texts of The Desert Music (1954) and Journey to Love (1955), originally published by Random House. In these books, Dr. Williams perfected his "variable foot" metric and achieved full mastery of the "American idiom" which was his lifelong first concern. Among the poems of this period is the long "Asphodel, That Greeny Flower" which W. H. Auden has called "one of the most beautiful love poems in the language." Pictures from Brueghel was awarded the Pulitzer Prize for Poetry only two months after William Carlos Williams' death on March 4, 1963.

In England and America Dylan Thomas made his art and personality widely known through public readings, radio broadcasts and recordings. Many of the 25 short stories, autobiographical sketches and essays in Quite Early One Morning, a volume planned by Thomas shortly before his death, were read by him on such occasions. They are alive with his verbal magic, his intense perception of life, his gargantuan humor and with the very ring of his voice. Included in this collection of prose pieces are such favorites as the hilarious "A Visit to America," the account of a small boy's marvelous day's outing--"A Story," and the memorable "A Child's Christmas in Wales" which has been called 'the twentieth century Christmas Carol.' Other pieces show Thomas's power as a sensitive critic of poetry and as an exponent of his own intent as a poet.

This collection of the poet Dylan Thomas's fiction--and what an extraordinary storyteller he was!--holds special interest because it ranges from the early stories such as "The School for Witches" and "The Burning Baby," with their powerful inheritance of Welsh mythology and wild imagination, to the chapters he completed before his death of the alas unfinished novel Adventures in the Skin Trade. Adventures is the story, written in a shrewd, sly, deadpan vein of picaresque comedy, of young Samuel Bennet, who runs away from his home in Wales to seek his fortune in London.

This selection is from L'Espace du Dedans, which collected eight books of prose poems, sketches and free verse. Brilliantly translated by Richard Ellmann, Michaux asks readers to join him in a fantastic world of the imagination. It is a world where wry humor plays against horror--where Chaplin meets Kafka--a world of pure and rare invention.

One of the most extraordinary events of the late nineteenth century in Paris was the opening on December 11, 1896, at the Théâtre de l'Oeuvre, of Alfred Jarry's play Ubu Roi. The audience was scandalized by this revolutionary satire, developed from a schoolboy farce, which began with a four-letter word, defied all the traditions of the stage, and ridiculed the established values of bourgeois society.Barbara Wright's witty translation of this riotous work is accompanied with drawings by Franciszka Themerson. Two previously untranslated essays in which Jarry explains his theories of the drama have also been included.

Kaufman promotes a spontaneous, prophetic verse, mixing street talk and jazz with vision. Solitudes Crowded with Loneliness contains odes to Charles Mingus, Hart Crane, Ray Charles, and Albert Camus as well as love lyrics, political rants, "Prison Poems," and the prose meditation "Second April."

"What a clear, insistent health there is here--as if the so-called world were seriously the point, which it is, and we could actually live in it, which we do. Truly this is the best How To book I've read in years. Bernadette Mayer makes a various world of real people in real times and places, a fact of love and loving use. She has impeccable insight and humor. She is a consummate poet no matter what's for supper or who eats it. Would that all genius were as generous." -Robert Creeley

Gathered here are versions of Hinge Picture (1974), Chanting at the Crystal Sea (1975), Cabbage Gardens (1979), and Secret History of the Dividing Line (1978) that differ in some respects from their original small-press editions. In a long preface, "Frame Structures," written especially for this volume, Howe suggests the autobiographical, familial, literary, and historical motifs that suffuse these early works. Taken together, the preface and poems reflect her rediscovered sense of her own beginnings as a poet, her movement from the visual arts into the iconography of the written word.Susan Howe is a professor of English at the State University of New York-Buffalo. Most of her later poetry has been collected in The Nonconformist's Memorial (New Directions, 1993), The Europe of Trusts: Selected Poems (Sun & Moon Press, 1990), and Singularities (Wesleyan University Press, 1990). She is also the author of two landmark books of postmodernist criticism, The Birth-mark: unsettling the wilderness in American literary history (Wesleyan University Press, 1993) and My Emily Dickinson (North Atlantic Books, 1985).

Milkweed Smithereens gathers lively, wickedly smart, intimate, and indelible Bernadette Mayer poems: the volume ranges from brand-new nature poems, pastiches, sequences, epigrams, and excerpts from her Covid Diary and Second World of Nature to early poems and sonnets found in the attic or rooted out in the UC San Diego archive. The world of nature and the pandemic loom large, as in her "The Lobelias of Fear":...but how will we, still alive, socializein the winter? wrapped in bear skinswe'll sit around pot-bellied stoves eatingthe lobelias of fear left over from desperation,last summer's woodland sunflowers and bee balm remind us of blackcherries eaten in a hurrywhile the yard grows in the moonlightshrinking like a salary ...

Even in a state of geometrical grace we cannot see time as it is, only as it passes. So the river shows us while softly disfiguring our waterlogged bodies on the way to vast projects of war.-Rosmarie WaldropDriven to Abstraction is Rosmarie Waldrop's sixth collection of poetry with New Directions. The first of its two sections, "Sway-Backed Powerlines," consists of five sequences of prose poems whose subject matter ranges from voyages of discovery and the second Iraq war to geometry, memory, and the music of John Cage. Part two, the title sequence, investigates the tendency to abstraction in our lives which, in the West, began with the Renaissance introduction of zero into arithmetic, the vanishing point into perspective, and imaginary money in economics. Driven by the tension between abstraction and the concrete, and written in the shadow of ongoing wars, these poems are among Waldrop's most engaging and thrilling works to date, the writing of a master poet at the height of her creative powers.

Driven mad by an office job, Lise flies south on holiday - in search of passionate adventure and sex. In this metaphysical shocker, infinity and eternity attend Lise's last terrible day in the unnamed southern city that is her final destination.

On a crowded bus at midday, Raymond Queneau observes one man accusing another of jostling him deliberately. When a seat is vacated, the first man appropriates it. Later, in another part of town, Queneau sees the man being advised by a friend to sew a new button on his overcoat.Exercises in Style - Queneau's experimental masterpiece and a hallmark book of the Oulipo literary group - retells this unexceptional tale ninety-nine times, employing the sonnet and the alexandrine, onomatopoeia and Cockney. An "Abusive" chapter heartily deplores the events; "Opera English" lends them grandeur. Queneau once said that of all his books, this was the one he most wished to see translated. He offered Barbara Wright his "heartiest congratulations," adding: "I have always thought that nothing is untranslatable.Here is new proof."To celebrate the 65th anniversary of the 1947 French publication of Exercises de Style, New Directions has asked several writers to contribute new exercises as a tribute. Tantalizing examples include Jonathan Lethem's "Cyberpunk," Harry Mathew's "Phonetic Eros," and Frederic Tuten's "Beatnik" exercises. This edition also retains Barbara Wright's original introduction and reminiscence of working on this book - a translation that in 2008 was ranked first on the Author's Society's list of "The 50 Outstanding Translations of the Last 50 Years."

The humble but heroic figure of St. Francis (1182-1226), who gave up wealth and security to espouse a life of poverty, an apostolic existence as much like Christ's as possible, attracted a strong and immediate following. In a series of vivid vignettes, The Wisdom of St. Francis and His Companions portrays the lives of the original members of the Franciscan community--the childlike innocence of their faith, their brave self-denial and acute sayings, and the sometimes comic effects of their simplicity. St. Francis himself was a poet, and his work, together with the picturesque episodes of his extraordinary life, evoke a perennial response--as witness his revered "Canticle to the Sun."

Called by some the French Borges, by others the creator of le nouveau roman a generation ahead of its time, Raymond Queneau's work in fiction continues to defy strict categorization. The Flight of Icarus (Le Vol d'lcare) is his only novel written in the form of a play: seventy-four short scenes, complete with stage directions. Consciously parodying Pirandello and Robbe-Grillet, it begins with a novelist's discovery that his principal character, Icarus by name, has vanished. This, in turn, sets off a rash of other such disappearances. Before long, a number of desperate authors are found in search of their fugitive characters, who wander through the Paris of the 1890s, occasionally meeting one another, and even straying into new novels. Icarus himself--perhaps following the destiny his name suggests--develops a passion for horseless carriages, kites, and machines that fly. And throughout the almost vaudevillian turns of the plot, we are aware, as always, of Queneau's evident delight at holding the thin line between farce and philosophy.

This is the first presentation in depth of the work of one of the most influential writers of modern France, Jules Supervielle (1884-1960). Up to now, only an occasional selection has appeared in an anthology, and he is still little known to American readers. Yet Supervielle is one of the unique creators of our time. His fables have the clear-eyed, slightly wry vision of the intelligent child. His poems have a Iucidity of language that throws new light on each word, each thought. In his novel The Man Who Stole Children, complete in this volume, he uses the fantastic premise that a child uncared for by its parents may simply be picked up off the street and adopted, to illuminate man's problems of human behavior and emotion. Supervielle in his poetry and prose, as in his personal influence on other writers, is quiet, unassuming, matter-of-fact. There is a quietness, too, almost an impersonality about his approach to life and the events of every day. His poems are statements and almost never is there the fireworks of imagery or startling figure of speech that one associates with some twentieth-century schools of writing. Throughout his work may be felt the vast spaces of Uruguay, where he was born, and of the sea, a pervading symbol. This edition contains eight of his stories. translated by Enid McLeod, more than forty of his poems with French text en face translated by James Kirkup, Denise Levertov, and Kenneth Rexroth, and the complete novel, Le Voleur d'enfants, translated by Alan Pryce-Jones.

Early Light offers three very different aspects of Osamu Dazai's genius: the title story relates his misadventures as a drinker and a family man in the terrible fire bombings of Tokyo at the end of WWII. Having lost their own home, he and his wife flee with a new baby boy and their little girl to relatives in Kofu, only to be bombed out anew. "Everything's gone," the father explains to his daughter: "Mr. Rabbit, our shoes, the Ogigari house, the Chino house, they all burned up," "Yeah, they all burned up," she said, still smiling."One Hundred Views of Mount Fuji," another autobiographical tale, is much more comic: Dazai finds himself unable to escape the famous views, the beauty once immortalized by Hokusai and now reduced to a cliche. In the end, young girls torment him by pressing him into taking their photo before the famous peak: "Goodbye," he hisses through his teeth, "Mount Fuji. Thanks for everything. Click."And the final story is "Villon's Wife," a small masterpiece, which relates the awakening to power of a drunkard's wife. She transforms herself into a woman not to be defeated by anything, not by her husband being a thief, a megalomaniacal writer, and a wastrel. Single-handedly, she saves the day by concluding that "There's nothing wrong with being a monster, is there? As long as we can stay alive."

"Bloom and change your way of living," Xi Chuan exhorts us. "Bloom / unleash a deep underground spring with your rhizome." In his wildly roving new collection, Bloom & Other Poems, Xi Chuan, like a modern-day master of the fu-rhapsody, delves into the incongruities of daily existence, its contradictions and echoes of ancient history, with sensuous exaltations and humorous observations. Problems of mourning and reading, thoughts on loquaciousness, Manhattan, the Luxor Temple and socks are scrutinised, while in other poems we encounter dead friends on a visit to a small village and fakes in an antique market. At one moment we follow the river's flow through the history of Nanjing, in another we follow an exquisite meditation on the golden. Brimming with lyrical beauty and philosophical intensity, the collection ends with a transcript of a conversation between Xi Chuan and the journalist Xu Zhiyuan that earned seventy million views when broadcast online. Award-winning translator Lucas Klein demonstrates in this remarkable bilingual edition that Xi Chuan is one of the most electrifying international poets writing today.

Maman was exigeante-there is no English word-and I had the benefit of her training. Others may not be so fortunate. If some other young girl, with two million dollars at stake, finds this of use I shall count myself justified.Raised in Marrakech by a French mother and English father, a 17-year-old girl has learned above all to avoid mauvais ton ("bad taste" loses something in the translation). One should not ask servants to wait on one during Ramadan: they must have paid leave while one spends the holy month abroad. One must play the piano; if staying at Claridge's, one must regrettably install a Clavinova in the suite, so that the necessary hours of practice will not be inflicted on fellow guests. One should cultivate weavers of tweed in the Outer Hebrides but have the cloth made up in London; one should buy linen in Ireland but have it made up by a Thai seamstress in Paris (whose genius has been supported by purchase of suitable premises). All this and much more she has learned, governed by a parent of ferociously lofty standards. But at 17, during the annual Ramadan travels, she finds all assumptions overturned. Will she be able to fend for herself? Will the dictates of good taste suffice when she must deal, singlehanded, with the sharks of New York?

With An Elemental Thing, Weinberger turns from his celebrated political chronicles to the timelessness of the subjects of his literary essays. With the wisdom of a literary archaeologist-astronomer-anthropologist-zookeeper, he leads us through histories, fables, and meditations about the ten thousand things in the universe: the wind and the rhinoceros, Catholic saints and people named Chang, the Mandaeans on the Iran-Iraq border and the Kaluli in the mountains of New Guinea. Among the thirty-five essays included are a poetic biography of the prophet Muhammad, which was praised by the London Times for its "great beauty and grace," and "The Stars," a reverie on what's up there that has already been translated into Arabic, Chinese, Hindi, and Maori.

The celebrated Greek poet Phoebe Giannisi explores connections between language, life, and the natural world

Conversation of the Three Wayfarers is a tale overheard, rather than told directly. Abel, Babel, and Cabel, the wayfarers, carry on a three-sided monologue, each reporting curious incidents-the effect is of three capers rolled into one: a steeplechase performed on a floating pontoon. But are they really three distinct individuals? Why do their lives blend in such a fantastic manner? Weiss's strikingly original prose has an impossibly contained quality, with each sentence doing a perfect double-double backflip before neatly landing. This essential rediscovered work, from the masterful and acclaimed German modernist Peter Weiss, will be a delightful discovery for readers of Kafka, Musil, and Gombrowicz.

In the years since her tragic death in a car accident at age thirty-two in 1967, Forough Farrokhzad has become a poet as iconic and influential as Lorca or Akhmatova, celebrated as a pioneer of modernist Iranian literature and as a leading figure of contemporary world literature. Farrokhzad, as Elizabeth Gray writes in the preface, "remains a beacon to artists, especially women and marginalized artists, who seek freedom in all its forms."This thoughtfully curated, deftly translated selection of Farrokhzad's poems includes work from her whole writing life, early to late. Readers will thoroughly treasure this expansive poet of the quotidian; of longing, loss, and desire; of classical reinvention; of lexical variation and sonic beauty; of terrifying wisdom, hope, and grief.

Peter Weiss's first prose work, The Shadow of the Coachman's Body, was unanimously praised as an original and perfect work of art by critics when it appeared in 1960. Here, in poet Rosmarie Waldrop's stunning translation, Weiss arranges a dark, vividly alive comedy of inert objects in a dismal boarding house-stones, buttons, hooks, needles, chairs, newspapers in an outhouse, clinking tin cups, celestial orbs, sewing machines, an overwound windup music box-which have oblique characters' shadows as their supporting cast. Described by Weiss as a "micro-novel," The Shadow of the Coachman's Body can be obscene, trivial and brutal, and yet it is also peculiarly intimate and offers endless possibilities-like a telescope and kaleidoscope rolled into one.