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Part novel and part memoir, Yoel Hoffmann's Moods is flooded with feelings, evoked by his family, losses, loves, the soul's hidden powers, old phone books, and life in the Galilee-with its every scent, breeze, notable dog, and odd neighbor. Carrying these shards is a general tenderness, accentuated by a new dimension brought along by "that great big pill of Prozac."Beautifully translated by Peter Cole, Moods is fiction for lovers of poetry and poetry for lovers of fiction-a small marvel of a book, and with its pockets of joy, a curiously cheerful book by an author who once compared himself to "a praying mantis inclined to melancholy."

Oreo is raised by her maternal grandparents in Philadelphia. Her black mother tours with a theatrical troupe, and her Jewish deadbeat dad disappeared when she was an infant, leaving behind a mysterious note that triggers her quest to find him. What ensues is a playful, modernized parody of the classical odyssey of Theseus with a feminist twist, immersed in seventies pop culture, and mixing standard English, black vernacular, and Yiddish with wisecracking aplomb. Oreo, our young hero, navigates the labyrinth of sound studios and brothels and subway tunnels in Manhattan, seeking to claim her birthright while unwittingly experiencing and triggering a mythic journey of self-discovery like no other.

A puzzling phone call shatters a writer's routine. An enigmatic female voice extends a dinner invitation, and it soon becomes clear that this is an invitation to take part in the documenta, the legendary exhibition of contemporary art held every five years in Kassel, Germany.  The writer's mission will be to sit down to write every morning in a Chinese restaurant on the outskirts of town, transforming himself into a living art installation. Once in Kassel, the writer is surprised to find himself overcome by good cheer as he strolls through the city, spurred on by the endless supply of energy at the heart of the exhibition. This is his spontaneous, quirky response to art, rising up against pessimism.With humor, profundity, and a sharp eye, Enrique Vila-Matas tells the story of a solitary man, who, roaming the streets amid oddities and wonder, takes it upon himself to translate from a language he does not understand.

Ezra Pound's book on the French sculptor Henri Gaudier-Brzeska was first published in 1916. An enlarged edition, including thirty pages of illustrations (sculpture and drawings) as well as Pound's later pieces on Gaudier, was brought out in 1970, and is now re-issued as an ND Paperbook. The memoir is valuable both for the history of modern art and for what it shows us of Pound himself, his ability to recognize genius in others and then to publicize it effectively. Would there today be a Salle Gaudier-Brzeska in the Musée de L'Art Moderne in Paris if Pound had not championed him? Gaudier's talent was impressive and his Vorticist aesthetic important as theory, but he was killed in World War I at the age of twenty-three, leaving only a small body of work. Pound knew Gaudier in London, where the young artist had come with his companion, the Polish-born Sophie Brzeska. whose name he added to his own. They were living in poverty when Pound bought Gaudier the stone from which the famous "hieratic head" of the poet was made. Pound arranged exhibitions and for the publication of Gaudier's manifestoes in Blast and The Egoist. And he wrote and sent packages to him in the trenches, where Gaudier--a sculptor to the last--carved a madonna and child from the butt of a captured German rifle, just two days before he died.

The Crack-Up tells the story of Fitzgerald's sudden descent at the age of thirty-nine from glamorous success to empty despair, and his determined recovery. Compiled and edited by Edmund Wilson shortly after F. Scott Fitzgerald's death, this revealing collection of his essays-as well as letters to and from Gertrude Stein, Edith Wharton, T.S. Eliot, John Dos Passos-tells of a man with charm and talent to burn, whose gaiety and genius made him a living symbol of the Jazz Age, and whose recklessness brought him grief and loss. "Fitzgerald's physical and spiritual exhaustion is described brilliantly," noted The New York Review of Books: "the essays are amazing for the candor."

Brazilian poet Ledo Ivo's Snakes' Nest is a "tale badly told" in a most artful manner. Part political allegory, the novel explores the nature of good and evil in a provincial port in northeastern Brazil during World War II--all the ills of the repressive dictatorship then in power are reflected in the corrupt and violent society of Maceió. As Ivo says: "During a dictatorship, all narratives are poorly told, since a dictatorship is the Kingdom of Lies and cannot tolerate the truth." But to focus solely on the allegory would deny the richness of the book's many layers, the considerable skill with which the characters emerge from the narrator's false starts, the subtle and pervasive wit that skewers pomposity and pretension, the suspense created by the narrator's very unreliability, and the poetry with which the exotic setting is evoked. The last word in describing such a heady mixture belongs to the author, who calls it, "a story of terror and violence that is, surely, a sunny nightmare." Although Ledo Ivo is well known in his own country as a journalist and poetic spokesman of the "Generation of 1945," this edition of Snakes' Nest marks his first book-length appearance in English. Originally published in 1973 under the title Ninho de Cobras, Snakes' Nest won the prestigious Brazilian Walmap Prize for that year. The novel has been translated by Kern Krapohl who, for several years, lived in Brazil and worked closely with the author. Jon M. Tolman of the University of New Mexico has contributed an informative introduction which clearly places the story both historically and geographically.

The Collected Poems of Dylan Thomas contains poems that Thomas personally decided best represented his work. A year before its publication Thomas died from swelling of the brain triggered by excessive drinking. (A piece of New Directions history: it was our founder James Laughlin who identified Thomas' body at the morgue of St. Vincent's Hospital.)Since its initial publication in 1953, this book has become the definitive edition of the poet's work. Thomas wrote "Prologue" addressed to "my readers, the strangers" - an introduction in verse that was the last poem he would ever write. Also included are classics such as "And Death Shall Have No Dominion," "Do Not Go Gentle into that Good Night," and "Fern Hill" that have influenced generations of artists from Bob Dylan (who changed his last name from Zimmerman in honor of the poet), to John Lennon (The Beatles included Thomas' portrait on the cover of Sgt. Pepper's Lonely Hearts Club Band); this collection even appears in the film adaptation of Cormac McCarthy's The Road when it is retrieved from the rubble of a bookshelf.     And death shall have no dominion.     Dead men naked they shall be one     With the man in the wind and the west moon;     When their bones are picked clean and their clean bones gone,     They shall have stars at elbow and foot;     Though they go mad they shall be sane,     Though they sink through the sea they shall rise again,     Though lovers be lost love shall not:     And death shall have no dominion.             (From "And Death Shall Have No Dominion")

Working from existing translations, Thomas Merton composed a series of his own versions of the classic sayings of Chuang Tzu, the most spiritual of Chinese philosophers. Chuang Tzu, who wrote in the fourth and third centuries B.C., is the chief authentic historical spokesperson for Taoism and its founder Lao Tzu (a legendary character known largely through Chuang Tzu's writings). Indeed it was because of Chuang Tzu and the other Taoist sages that Indian Buddhism was transformed, in China, into the unique vehicle we now call by its Japanese name-Zen.The Chinese sage abounds in wit and paradox and shattering insights into the true ground of being. Thomas Merton, no stranger to Asian thought, brings a vivid, modern idiom to the timeless wisdom of Tao.

The incomparable Borges delivered these seven lectures in Buenos Aires in 1977; attendees were treated to Borges' erudition on the following topics: Dante's The Divine Comedy, Nightmares, Thousand and One Dreams, Buddhism, Poetry, The Kabbalah, and Blindness.

This long-awaited memoir is a joy to read, an instrumental guide to translating, and a look at the life of one of its great practitioners.

In An Essay on French Verse-For Readers of English Poetry, Jacques Barzun addresses the baffling English prejudice against French poetry. Barzun's many-faceted and entertaining study muses on six hundred years of French verse, its rules and forms and how they evolved. It also has significant sections on the French language itself, its sounds and difficulties; on verse music in language generally; on the character and achievements of the greatest French poets; and finally, on the social and political conditions that encouraged successive innovations, including the prevailing wordwide practice of free verse. The Essay, moreover, draws not only on a lifetime's reading, but on personal reminiscences as well: of stuffy poetry lessons in the French lycée; of the poet Apollinaire expounding his views on language to amuse the child sitting on his knee; of the author's great-grandmother telling him about proper French pronunciation, as it was in her youth, eighty years earlier. In sum, Barzun's book goes a long way toward answering the question posed in 1917 by A. E. Housman to André Gide: How is it that every nation has produced poetry except France?

Poet, translator, essayist, and voracious reader--Kenneth Rexroth was an omnivore in the fields of literature. The brief, radiant essays of Classics Revisited discuss sixty key books that are, for Rexroth, "basic documents in the history of the imagination." Ranging from The Epic of Gilgamesh to Huckleberry Finn, these pieces (each about five pages long) originally appeared in the Saturday Review. Distinguished by Rexroth's plain, wide-awake style, Classics Revisited presents complex ideas in simple language, energized by the author's air of talking eye-to-eye with his reader. Elastic, at home in several languages, Rexroth is not bound by East or West; he leaps nimbly from Homer to The Mahabharata, from Lady Murasaki to Stendhal. It is only when we pause for breath that we notice his special affinities: for Casanova, lzaak Walton, Macbeth, Icelandic sagas, classical Japanese poetry. He has read everything. In Sterne, he sees traces of the Buddha; in Fielding, hints of Confucius. "Life may not be optimistic," Rexroth maintains in his introduction, "but it certainly is comic, and the greatest literature presents man wearing the two conventional masks; the grinning and the weeping faces that decorate theatre prosceniums. What is the face behind the mask? Just a human face--yours or mine. That is the irony of it all--the irony that distinguishes great literature--it is all so ordinary."

The Flower Show and The Toth Family, two novellas in one volume by István Örkény (1912-79), introduce to an English-speaking audience a Hungarian writer with a keen sense of the absurdities of modern life. In the '60s and '70s, Örkény's vein of black comedy earned him the epithet "master of the grotesque" for the popular dramatizations of these and other novels. The Flower Show (1977) is Örkény's last novel and his most widely translated work of fiction. With consummate irony, the author exploits our universal unease in the face of death, the desire to "star" taken to its ultimate absurdity by playing the lead in one's own demise, and the voyeurism of the modern media. In The Toth Family (1967) a mad army major on leave terrorizes a village fireman and his family, forcing them to cut and fold endless quantities of cardboard packing boxes every night until dawn. Originally written as a film script, the novel's scenes flicker past in lunatic array as Örkény satirizes Hungary of the early '40s and the acquiescence of a quasi-feudal, nationalistic, caste-ridden society to the authoritarian state of Nazi Germany. The impression is as if the Marx Brothers had been born out of Dr. Strangelove.

In "Structures of Rime," the open series begun in The Opening of the Field and continued in this volume, Duncan works with ideas, forces, and persons created in language itself--the life and identity of the poet in the poem. With the first thirty poems of "Passages," which form the structural base in Bending the Bow, he has begun a second open series--a multiphasic projection of movements in a field, an imagined universe of the poem that moves out to include all the terms of experience as meaning. Here Duncan draws upon and in turn contributes to a mode in American poetry where Pound's Cantos, Williams's Paterson, Zukofsky's "A," and Olson's Maximus Poems have led the way. The chronological composition of Bending the Bow emphasizes Duncan's belief that the significance of form is that of an event in process. Thus, the poems of the two open series belong ultimately to the configuration of a life in poetry in which there are forms moving within and interpenetrating forms. Versions of Verlaine's Saint Graal and Parsifal and a translation of Gérard de Nerval's Les Chimeres enter the picture; narrative bridges for the play Adam's Way have their place in the process; and three major individual poems--"My Mother Would Be a Falconress," "A Shrine to Ameinias," and "Epilogos"--among others make for an interplay of frames of reference and meaning in which even such resounding blasts of outrage at the War in Vietnam as "Up Rising" and "The Soldiers" are not for the poet things in themselves but happenings in a poetry that involve all other parts of his experience.

I go out of the darknessOnto a road of darknessLit only by the far offMoon on the edge of the mountains.-Izumi ShikobuOver the years, thousands of readers have discovered the beauty of classic Japanese poetry through the superb English versions by the great American poet Kenneth Rexroth. Mostly haiku, these poems range from the classical and medieval to modern poetry, with an emphasis on folk songs and love lyrics. Because women played such an outstanding role in Japanese literature, included here are selections from their work, including the contemporary, deeply sensuous Marichiko. This elegant, beautifully designed gift book of poems spanning many centuries presents the original texts in romanji, the transliteration into the Western alphabet.

In Peter Cole's remarkable new book, the forces and sources that have long driven his work come together in singular fashion. Things on Which I've Stumbled rides a variable music that takes it from an archeology of mysterious poetic fragments unearthed in an ancient Egyptian synagogue to poignant political commentary on the blighted hills surrounding modern Jerusalem. Cole's vision of connectedness, his wit, and his grounded wisdom, along with his keen sense of literature's place in a meaningful life, render these poems at once fresh and abiding. Widely acclaimed for his translations from Hebrew and Arabic, Cole is also the author of two highly praised collections of poems. Writing in The New York Review of Books, Harold Bloom called Peter Cole "a major poet-translator." In Things on Which I've Stumbled, he turns to translating the world.

Written in 1950 (just before the fall of Perón's government), Final Exam is Julio Cortázar's bitter and melancholy allegorical farewell to an Argentina from which he would soon be permanently self-exiled.In a surreal Buenos Aires, a strange fog has enveloped the city to everyone's bewilderment. Juan and Clara, two students at a college called "The House," meet up with their friends, and, instead of preparing for their final exam, wander the city, encountering strange happenings and pondering life in cafés. All the while, they are trailed by the mysterious Abel.With its daring typography, shifts in rhythm, as well as wildly veering directions of thought and speech, Final Exam breaks new ground in the territory of stream-of-consciousness writing. Darkly funny-and riddled with unresolved ambiguities-Final Exam is one of Cortázar's best works.Author of Hopscotch and Blow-Up, Julio Cortázar's (1914-1984) was a novelist, poet, essayist, and short-story writer. He was born in Brussels, lived in Argentina, but moved permanently to France in 1951, where he became one of the twentieth century's major experimental writers.

A precocious Vietnamese high school student - known as the pupil with "the iron blouse"-in Ho Chi Minh City is invited to an International Youth Conference in East Berlin. But, in East Berlin, as she is preparing to present her paper in Russian on "Vietnam as a Victim of American Imperialism," she is abruptly kidnapped and taken to a small town in West Germany. After a strange spell of domestic-sexual boredom with her lover-abductor-and though "the Berlin Wall was said to be more difficult to break through than the Great Wall of China" - she escapes on a train to Moscow . . . but mistakenly arrives in Paris. Alone, broke, and in a completely foreign land, Anh (her false name) loses herself in the films of Catherine Deneuve as her real adventures begin.Dreamy, meditative, and filled with the gritty everyday perils of a person living somewhere without papers (at one point Anh is subjected to some vampire-like skin experiments), The Naked Eye is a novel that is as surprising as it is delightful-each of the thirteen chapters titled after and framed by one of Deneuve's films. "As far as I was concerned," the narrator says while watching Deneuve on the screen, "the only woman in the world was you, and so I did not exist." By the time 1989 comes along and the Iron Curtain falls, story and viewer have morphed into the dislocating beauty of both dancer and dance.

Life, death, karma-these interwoven themes form the heart of this lyrical novel in letters, Kinshu: Autumn Brocade, the first work to be published in the U.S. by Teru Miyamoto, one of Japan's most popular literary writers.The word kinshu has many connotations in Japanese-brocade, poetic writing, the brilliance of autumn leaves-and resonates here as a vibrant metaphor for the complex, intimate relationship between Aki and Yasuaki. Ten years after a dramatic divorce, they meet by chance at a mountain resort. Aki initiates a new correspondence, and letter by letter through the seasons, the secrets of the past unfold as they reflect on their present struggles. From a lover's suicide to a father's controlling demands, to Mozart's Thirty-Ninth Symphony ("a veritable marvel of sixteenth notes"), to the karmic consequences of their actions, the story glides through their deeply introspective and stirring exchanges. What begins as a series of accusations and apologies, questions and excuses, turns into a source of mutual support and healing. Chosen as an Outstanding Work of Japanese Literature by the Japanese Literature Publishing Project.

Part antiphonal rant, part rhythmic whisper, Nathaniel Mackey's new collection of poems, Splay Anthem, takes the reader to uncharted poetic spaces. Divided into three sections-"Braid," "Fray," and "Nub" (one referent Mackey notes in his stellar Introduction: "the imperial, flailing republic of Nub the United States has become, the shrunken place the earth has become, planet Nub")-Splay Anthem weaves together two ongoing serial poems Mackey has been writing for over twenty years, "Song of the Andoumboulou" and "Mu" (though "Mu no more itself / than Andoumboulou").In the cosmology of the Dogon of West Africa, the Andoumboulou are progenitor spirits, and the song of the Andoumboulou is a song addressed to the spirits, a funeral song, a song of rebirth. "Mu," too, splays with meaning: muni bird, Greek muthos, a Sun Ra tune, a continent once thought to have existed in the Pacific. With the vibrancy of a Mira painting, Mackey's poems trace the lost tribe of "we" through waking and dreamtime, through a multitude of geographies, cultures, histories, and musical traditions, as poetry here serves as the intersection of everything, myth's music, spirit lift.

A groundbreaking anthology of classical Chinese translations by giants of Modern American poetry. A rich compendium of translations, The New Directions Anthology of Classical Chinese Poetry is the first collection to look at Chinese poetry through its enormous influence on American poetry. Weinberger begins with Ezra Pound's Cathay (1915), and includes translations by three other major U.S. poetsWilliam Carlos Williams, Kenneth Rexroth, Gary Snyderand an important poet-translator-scholar, David Hinton, all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets. The anthology also includes previously uncollected translations by Pound; a selection of essays on Chinese poetry by all five translators, some never published before in book form; Lu Chi's famous "Rhymeprose on Literature" translated by Achilles Fang; biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves; and also Weinberger's excellent introduction that historically contextualizes the influence Chinese poetry has had on the work of American poets.

The Nuremberg trials brought to public attention the worst of the Nazi atrocities. Judgment at Nuremberg brings those trials to life. Abby Mann's riveting drama Judgment at Nuremberg not only brought some of the worst Nazi atrocities to public attention, but has become, along with Elie Wiesel's Night and Anne Frank's Diary of a Young Girl, one of the twentieth century's most important records of the Holocaust. Originally written as a 1957 television play, later made into an Academy Award winning 1961 film, and available now for the first time in print (using the text of Mann's recent Broadway adaptation), Judgment at Nuremberg is as potent and relevant as ever. To this day the Nuremberg trials stand as a model for international criminal tribunals, due in large measure to the spotlight thrown on them by Mann's dramatic interpretation of the historic events. Mann's overwhelming compassion strikes at the heart of human suffering-his achievement has been to reaffirm humanity and justice in the wake of unspeakable evil.

This collection of recent poems is graced with a short introduction by the poet in which he says, "All I ever wanted to do was to paint light on the walls of life." For more than fifty years Ferlinghetti has been doing just thatilluminating both the everyday and the unusual, all the while keeping true to his original dictum of speaking in a way accessible to everyone. He has been, and remains, "One of our ageless radicals and true bards" (Booklist) and his voice is well-known in many places around the world. He was one of the two American poets (the other being John Ashbery) chosen to participate in the 2001 Celebration of UNESCO's World Poetry Day in Delphi, Greece, where he along with his international confreres each poetically addressed the Oracle.

Fresco: Selected Poetry of Luljeta Lleshanaku introduces to English-speaking readers the arresting work of Luljeta Lleshanaku, one of Albania's foremost younger poets. Born in Elbasan in 1968, she grew up under virtual house arrest because of her family's opposition to the Stalinist dictatorship of Enver Hoxha. She was not permitted to attend college or publish her poetry until the weakening and eventual collapse of the Communist regime in the early '90s. She is among the first generation of poets to emerge out of the cultural wasteland of enforced socialist realism in the arts, reinventing Albanian poetry almost entirely from scratch. In a voice at once firm yet quiet and spare, with haunting imagery that challenges the imagination, her highly charged poems carry the burden of her own and her country's past.For Fresco, editor Henry Israeli has gathered fifty-seven poems from Luljeta Lleshanaku's published books (The Sleepwalker's Eyes, 1992; Sunday Bells, 1994; Half-Cubism, 1996; Antipastoral, 1999) as well as some newer work. His Afterword places her writing within its personal and social context, while an Introduction by the award-winning translator Peter Constantine views the poet from the wider perspective of modern Albanian literature. The poems themselves are translated by Henry Israeli in collaboration with the author and Uk Zenel Bucpapa, Noci Deda, Joanna Goodman, Alban Kupi, Albana Lleshanaku, Lluka Qafoku, Shpresa Qatipi, Qazim Sheme, and Daniel Weissbort. Many of the translations have appeared in such magazines as Grand Street, Denver Quarterly, The Iowa Review, Seneca Review, and Quarterly West.

The new book spanning the genres of poetry, fiction, and theater, by the highly-acclaimed Thalia Field. The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

In kaleidoscopic fragments, Hoffmann refracts Jewish popular lore and folk wisdom through a postmodernist prism, brightening his prose with snatches of verse, songs, diary excerpts, letters, ominous dreams, lush erotic passages and Yiddish sayings. "The Book of Joseph" tells the tragic story of a widowed Jewish tailor and his son in 1930s Berlin. "Katschen" gives an astounding child's-eye view of a boy orphaned in the new state of Israel. The novellas radiate the original poetry of Hoffmann's atomized hypnotic language, which Rosmarie Waldrop has called "utterly enchanting-it's like nothing else."

Even theAmerican Heritage Dictionary acknowledges that F. Scott Fitzgerald "epitomized the Jazz Age." And nowhere among his writings are the gin, pith, and morning-after squint of that era better illuminated than in these short essays. Selected in celebration of the 100th anniversary of Fitzgerald's birth, these candid personal memoirs--one written with his wife, Zelda--furnish nothing less than the autobiography of "the lost generation" of the 1920s. "He lacked armor," EL. Doctorow, author of The Waterworks, Ragtime, and Billy Bathgates, notes in his introduction. "He did not live in protective seclusion, as Faulkner. He was not carapaced in self-presentation, as Hemingway. He jumped right into the foolish heart of everything, as he had into the Plaza fountain." The Jazz Age is a celebration of one of the twentieth century's most vital writers.

The midnight sun illumines more than fishing and fjords in this remote northern Norwegian village. In fact, half-baked schemes and hilarity abound. Big Ove Rolandsen, telegraph operator, mad scientist, and local Casanova, trades wits, fists, and kisses with a host of quirky neighbors. He serenades the curate's wife and fights a drunken giant, but taking on Trader Mack, the town's fish-glue magnate, is a more difficult matter. Knut Hamsun, author of the acclaimed Hunger and winner of the 1920 Nobel Prize for Literature, renders the dreams and dramas of these townsfolk with a delightfully light touch. Robert Bly has written that Hamsun "has a magnifying glass on his eye, like a jeweler's," and Dreamers gleams like a perfect, semi-precious stone.