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Edouard Roditi's The Delights of Turkey is a confection that reminds us that short fiction need not be only a relentless probing of everyday anguish. Here is a score of witty and ingenious stories, set for the most part in Asia Minor, where the centuries-long mingling of Turks and Armenians, Greeks and Jews has evolved a vibrant culture rich in diversity. The tales are often bawdy or fanciful in the manner of the Thousand and One Nights, while others are more poignantly humorous in style, as we meet pasha, princess, and peasant, become privy to the intrigues of the Ottoman harem, or follow the merchant caravans on their journeys east. The collection itself is arranged thematically in four parts. "A City Built on Seven Hills" sketches a timeless Istanbul. "The Chronicles of Bok Köy" tell of an Anatolian village and the legendary prowess of its young men, the redoubtable Achmet Hodja most especially. In "Orient Express" baffled European meets mysterious Levantine. The last section, "The Eternal and Ubiquitous City" returns once more to Istanbul, this time in its contemporary guise.

Williams was foremost a poet, but the novels are of great interest. They are important books in their own right, because they present with a poet's insight, and in a prose style of striking originality, aspects of American life which few other writers have approached. White Mule and its sequels, In the Money and The Build-Up, form a trilogy, the saga of the Stecher family, but each volume is a complete novel by itself. Joe Stecher and Gurlie, his wife, are a young couple of European origin settled in New York at the turn of the century and working to make a place for themselves in the new world. White Mule is the story of Joe's inner struggle between love of fine craftsmanship (he is a printer by trade) and Gurlie's ambition to get ahead, to have him get "in the money." But it also the story of the awakening consciousness of their children; the real heroine is the baby Flossie--she had a kick like "White Mule" whiskey--whose birth begins the book. Everything revolves around the baby and she is surely unique in literature. Dr. Williams was a pediatrician, and without sentimentality he makes of this little being, who cannot even talk, a full-scale, three-dimensional personality.

Originally published in 1928 by Macaulay.

The Secret Meaning of Things has all the elements of his earlier poetry: lyrical intensity, wit, social concern, satirical bite, and above all a classical claritas. But it goes much further: there is a deepening of vision and a darker understanding of "our clay condition." The six long poems in The Secret Meaning of Things show a progressive continuity and clarity of perception that apprehends both the hard reality and luminous irreality in everyday phenomena. In "Assassination Raga"--on the death of Robert Kennedy--the glass through which the poet sees darkly is the television screen; the poem was first read on the night of RFK's funeral at a mass memorial in San Francisco. "Bickford's Buddha" is a meditation on "Observation Fever" in Harvard Square, while "All Too Clearly" finds a "touch of old surrealism/at a stoplight in La Jolla." "Through the Looking Glass" begins with an actual flight aboard a commercial airliner and moves through a psychedelic vision to a final flash of the Dance of Shiva, which in turn opens out into the worldview of "After the Cries of Birds." "Moscow in the Wilderness, Segovia in the Snow" comes out of Ferlinghetti's travels to Moscow and across the steppes in the winter of 1967.

When Guillaume Apollinaire died in 1918 at the age of thirty-eight, as the result of a war wound, he was already known as one of the most original and important poets of his time. He had led the migration of Bohemian Paris across the city from Montmartre to Montparnasse; he had helped formulate the principles of Cubism, having written one of the first books on the subject, and coined the word "Surrealist"; and he had demonstrated in his own work those innovations we have come to associate with the most vital investigations of the avant-garde. This bilingual, illustrated edition of The Selected Writings of Apollinaire, the only representative collection in English translation, begins with a comprehensive critical Introduction by the translator, Roger Shattuck. The next section is devoted to poetry. Included here are almost half of Apollinaire's two best-known volumes, Alcools and Calligrammes, as well as a selection from five other books, and the long love poem La Chanson du Mal-Aimé in its entirety. The prose section leads off with "L'Esprit Nouveau et les Poetes", a seminal discussion of modern poetry that anticipates such movements as Dada and Futurism. This is followed by Apollinaire's almost unobtainable "Introduction to Baudelaire and Oneirocriticism", an early experimental work composed in a style prophetic of Surrealist automatic writing. There are, in addition, two stories, a passage from Anecdotiques, and a section from the novel Le Poete Assassiné.

A biography on the writer and playwright Heinrich von Kleist

In DS (2)-Dreamstories 2-Kamau Brathwaite continues his ongoing collection of prose poems, comprised of the broken images, flow, and half-told stories of dreams. The poetic stories in DS (2) use Brathwaite's trademark sycorax video style, offering personal revelations mixed with political and historical fables occurring around the globe. Brathwaite's prose poems relate with ardency and pathos the Caribbean experience and are a potent voice of the African diaspora. Nathaniel Mackey wrote: "Kamau Brathwaite's 'calibanic play' reveals a fiendish delight in the slippage to which words are prone." And American Book Review wrote: "In its rhythms as well as its explorations of 'nation language' and of the traces of an African past, this is a populist work." This exciting new offering by Kamau Brathwaite follows on the heels of the publication of Brathwaite's Born to Slow Horses, which won the coveted 2006 Griffin Poetry Prize.

For the past twenty years, Eliot Weinberger has been taking the essay far beyond the borders of literary criticism or personal journalism and into the realm of poetry and narrative. Full of stories, yet written in a condensed, imagistic language, his essays are works of the imagination where all the facts are verifiable. As entertaining as fiction and as vivid as poems, making unexpected stops in odd corners of the globe or forgotten moments in human history, erudite, politically engaged, and acerbically witty, there is nothing quite like his work in contemporary writing. In Karmic Traces, his third collection with New Directions, twenty-four essays take the reader along on the author's personal travels from the Atacama Desert to Iceland to Hong Kong on the verge of the hand-over to China, as well as on imagined voyages on a 17th-century Danish ship bound for India and among strange religious cults or even stranger small animals. One never knows what will appear next: Viking dreams, Aztec rituals, Hindu memory, laughing fish, or prophetic dogs. And in "The Falls," the long tour-de-force that closes the book, Weinberger recapitulates 3,000 years of history in a cascade of telling facts to uncovering the deep roots of contemporary racism and violence.

Awarded the American-Scandinavian PEN Translation Prize by Michael Hamburger, Susanna Nied's translation of alphabet introduces Inger Christensen's poetry to US readers for the first time. Born in 1935, Inger Christensen is Denmark's best known poet. Her award-winning alphabet is based structurally on Fibonacci's sequence (a mathematical sequence in which each number is the sum of the two previous numbers), in combination with the alphabet. The gorgeous poetry herein reflects a complex philosophical background, yet has a visionary quality, discovering the metaphysical in the simple stuff of everyday life. In alphabet, Christensen creates a framework of psalm-like forms that unfold like expanding universes, while crystallizing both the beauty and the potential for destruction that permeate our times.

Federico Garcia Lorca called The Public "the best thing I've written for the theater." Yet, he acknowledged, "this is for the theater years from now." Now, half a century later, The Public and another of Lorca's most daring works, Play without a Title, are available in English translation for the first time. Surrealism, folk theater, poetry, vivid costumes, black humor--in the The Public, dramatic traditions are ransacked to develop themes as timely in the 1980s as they were taboo when Lorca was writing: if Romeo were a man of thirty and Juliet a boy of fifteen, would their passion be any less authentic? No, says a young observer of the play within the play, "I who climb the mountain twice each day and, when I finish studying, tend an enormous herd of bulls that I've got to struggle with and overpower at every instant, I don't have time to think about whether Juliet's a man or a woman or a child, but only to observe that I like her with such a joyous desire." In both The Public and Play without a Title, the player himself is of as much consequence as the role he plays. The fierce, stark Play without a Title, with its cast of Author, Prompter, Stagehand in the wings, and hecklers in the gallery, clearly heralds developments in today's avant-garde theater. It also reflects the violence of the times in which it was written. As Carlos Bauer notes in his introduction, neither of the plays in this volume was complete in 1936, when Lorca was assassinated by Franco's forces. Still, both have here the unity and grace of finished tours de force.

The miscellany of essays, notes, fragments, and jottings to which William Carlos Williams gave the title The Embodiment of Knowledge was found in manuscript after his death in the archive of his papers at the Beinecke Library at Yale University. Written in 1928-30, and dedicated to his sons, it was intended as a concrete demonstration of the organic nature of education, to show that knowledge is an ongoing process by which we create our selves from day to day. And to underscore the fact that so many of his own books were extended works of self-exploration, Dr. Williams wrote on the cover of his manuscript: "to be printed as it is, faults and all."

Gottfried Benn (1886-1957) occupies a position in modern German literature often compared to that of T. S. Eliot and Ezra Pound in English. This volume presents a comprehensive anthology of the author's finest work-poetry (with the German originals en face), short stories, a scene from one of his plays, essays and autobiographical writings, including a unique insight into the German intellectual metamorphosis before, under and after Hitler. And in a long introduction, the editor, E. B. Ashton, places Benn in the perspective of recent German history and gives an account of his life--a dramatic and moving story in its own right. By profession a physician, Benn was fascinated by the philosophical aspects of many branches of science, and over the years he wrote a number of extraordinary essays in which the poet's intuitive vision was accorded the utmost imaginative freedom.

Written between 1920 and 1932, all five were first published in small editions, three of them in France. These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward."The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

Never before translated into English, the wonderfully comic novel A House in Istria concerns marriage, a man's desperate desire to acquire the house next door, and what can happen when West meets East. In formerly communist Eastern Europe, there are many empty houses. Inhabited in turn by very different familiesJews, fascists, communiststhe houses now stand empty, decaying, the objects of countless lawsuits. Richard Swartz's quirky and marvelous first novel revolves around one such house and the Western European man obsessed with it. Narrated by his wife, the action takes place over just seven blazing hot days in Istria, formerly Yugoslavia. His obsession drags his poor wife, a native of Istria, into long burlesque conversations with lawyers and owners; her out-of-control husband (who doesn't speak the language) involves them in surreal scenes with nearly insane characters. Since everything the husband knows (and everything the reader knows) must be channeled through the wife, we enter a world in which nothing is directly intelligibleand everything is skewed. The unusual, antic, hilarious style calls Capek, Gogol, and Kafka all to mind.

The greatest collection by one of the great Russian writers is now back in print. First published in Europe in the 1930s and '40s, these searing, evocative stories by the late emigre writer Nina Berberova (1901-1993) are portraits of the lives of Russian exiles in Paris on the eve of World War II. The protagonists range from housekeepers and waiters to shabby-genteel aristocrats and intellectualsbut all are united in a haunting displacement from their pasts, and all share a troubling uncertainty about the future.

Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

The drama takes it form from the shifting scenes of memory, and Williams's surrogate self invites us to focus, in turn, on the various inhabitants or his dilapidated rooming house in the Vieux Carré: the comically desperate landlady, Mrs. Wire; Jane, a properly brought-up young woman from New York making at last grab at pleasure with Tye, the vulgar but appealing strip-joint barker; two decayed gentlewomen politely starving in the garret; and the dying painter Nightingale, who tries to teach the young writer something about love--both of the body and of the heart. This is a play about the education of the artist, and education in loneliness and despair, in giving and not giving, but most of all in seeing, hearing, feeling, and learning that "writers are shameless spies," who pay dearly for their knowledge and who cannot forget. Building on two decades of Williams scholarship since Vieux Carré was originally published, Robert Bray, editor of The Tennessee Williams Annual Review, has provided a new introduction for this edition, giving the most authoritative account yet of its background and genesis.

Few poets have possessed so great a gift or so great a body of work-when she died at 74, she had been a published poet for more than half a century. The poems themselves shine with the artistry of a writer at the height of her powers.

James Laughlin-poet, ladies' man, heir to a steel fortune, and the founder of New Directions-was still at work on his autobiography when he died at 83. He left behind personal files crammed with memories and memorabilia: in "M" he is taking Marianne Moore to Yankee games (outings captured here in charming snapshots) to discuss "arcane mammals," and in "N" nearly plunging off a mountain, hunting butterflies with Nabokov ("Volya was a doll in a very severe upper-crust Russian way").With an accent on humor, The Way It Wasn't is a scrapbook loaded with ephemera-letters and memories, clippings and photographs. This richly illustrated album glitters like a magpie's nest, if a magpie could have known Tennessee Williams, W.C. Williams, Merton, Miller, Stein, and Pound. In "C": "I wish that nice Jean Cocteau were still around. He took me to lunch at the Grand Véfours in the Palais-Royal and explained all about flying saucers. He understood mechanical things. He would advise me." In "P": "There was not much 'gracious living' in Pittsburgh, where at one house, the butler passed chewing gum on a silver salver after coffee." And: "The world is full of a large number of irritating people." In "H" there's Lillian Hellman: "What a raspy character. When I knocked at her door to try to borrow one of her books (hoping to butter her up) she only opened her door four inches and said words to the effect: 'Fuck off, you rapist.'" Marketing in "M": "I think it's important to get the 'troubadours' into the title. That's a 'buy-me' word." In "G": "Olga asked Allen Ginsberg if he was also buying Pound Conference T-shirts for his grandchildren. She was most lovable throughout." In "L": "Wyndham Lewis wrote 'Why don't you stop New Directions, your books are crap.'" And we find love in "L": "Cicero noted that an old love pinches like a crab." But in The Way It Wasn't James Laughlin's love of the crazy world and his crazier authors does not pinch a bit: it glows with wit and enlarges our feeling for the late great twentieth century.

Kanthapura is the story of how Gandhi's struggle for independence from the British came to a typical village, Kanthapura, in South India. Young Moorthy, back from the city with "new ideas," cuts across the ancient barriers of caste to unite the villagers in non-violent action--which is met with violence by landlords and police. The dramatic tale unfolds in a poetic, almost mythical style which conveys as never before the rich textures of Indian rural life. The narrator is an old woman, imbued with the legendary history of the region, who knows the past of all the characters and comments on their actions with sharp-eyed wisdom. Her narrative, and the way she tells it, evokes the spirit of India's traditional folk-epics. This edition includes extensive notes on Indian myths, religion, social customs, and the Independence movement (given at the end of the book) which fill out the background for the American reader's more complete understanding and enjoyment.

This is a short biography. Its subject, François Marie Arouet de Voltaire (1694-1778), would not have objected--he was careful to point out that "the surest way of being a bore is to tell everything." What Wayne Andrews's Voltaire may lack in laundry lists is made up in wit, learning, and an elegance of style eminently appropriate for an appreciation of a man who was never so ruthless as when eliminating the last trace of dust from his own writing. Indeed, Voltaire was the most successful writer of the eighteenth century. It matters little that his plays are today a lost cause, as is his poetry--the author of Candide and the Age of Louis XIV will always have his audience. His irreverence guarantees his immortality. While stressing Voltaire's eternal campaign against Christianity and his monumental efforts to effect justice in an autocratic era, Andrews maintains that his primary loyalty was always to himself. The fervent anti-Christian had his firm friends in the Church. The social philosopher courted Catherine the Great with near servility. But, in Victor Hugo's words: "His smile put an end to violence, his sarcasm put an end to despotism, his irony put an end to infallibility, his perseverance put an end to stubbornness, and the truth he proclaimed put an end to ignorance."

"A surreal semi-autobiographical blackbook record of a semi-mad period of my life, in that mindless, timeless state most romantics pass through, confusing flesh madonnas with spiritual ones." This is how the author describes this extraordinary expatriate novel.

His eyes "shine with a glimmer of perpetual amusement"; his sartorial taste is impeccable; Ossama is "a thief, not a legitimated thief, such as a minister, banker, or real-estate developer; he is a modest thief." He knows "that by dressing with the same elegance as the licensed robbers of the people, he could elude the mistrustful gaze of the police," and so he glides lazily around the cafe¿s of Cairo, seeking his prey. His country may be a disaster, but he's a hedonist convinced that "nothing on this earth is tragic for an intelligent man."One fat victim ("everything about him oozed opulence and theft on a grand scale") is relieved of his crocodile wallet. In it Ossama finds not just a gratifying amount of cash, but also a letter - a letter from the Ministry of Public Works, cutting off its ties to the fat man. A source of rich bribes heretofore, the fat man is now too hot to handle; he's a fabulously wealthy real-estate developer, lately much in the news because one of his cheap buildings has just collapsed, killing 50 tenants. Ossama "by some divine decree has become the repository of a scandal" of epic proportions. And so he decides he must act. . . .Among the books to be treasured by the utterly singular Albert Cossery, his last, hilarious novel, The Colors of Infamy, is a particular jewel.

A spellbinding short novel set in post-revolutionary Russia about a young girl's jealousy. The fifth book of Nina Berberova to be published by New Directions, The Accompanist, written in 1936, proved to be a literary phenomenon in Europe where it was first published. A spellbinding, short novel set in post-revolutionary RussiaThe Accompanist portrays with extraordinary sensitivity the entangled relationships of three intriguing characters. Sonechka is a talented but shy young pianist hired by a beautiful soprano (Maria Nikolaevna) and her devoted, bourgeois husband. Maria is everything Sonechka is notglamorous and flamboyant. Her voice brings with it "something immortal and indisputable, something which gives reality to the human being's dream of having wings." Doomed to live in her mentor's shadow, the young girl secretly schemes to expose the singer's infidelities. But as she awaits her chance, the diva's husband takes matters into his own hands, bringing events to a surprising resolution. This intense and beautiful little novel was published in America almost fifty years after it was written; sadly out of print for a number of years, it is a wonderfully compelling and crucial addition to Nina Berberova's growing number of published fictional works.

A landmark book in the studies of Freud, H.D., modernism, gender, and sexuality. The poet H.D. (1886-1961) was in psychoanalysis with Sigmund Freud in Vienna during the spring of 1933 and again in the fall of 1934. She visited him daily at his study at 19 Berggasse, while outside Nazi thugs and militia bullied their way through the streets. Freud was old, and fragile. H.D. was forty-six and despairing of her writing life, which seemed to have reached a dead end, for all her success. Her sessions with Freud proved to be the point of transition, the funnel into which were poured her memories of the past and associations in the presentand from which she emerged reborn. H.D. came to Freud at the urging of her companion, the novelist Bryher (1884-1983), the daughter of a wealthy British shipping magnate. Freud welcomed H.D. as a creative spirit whose work he respected, but he did ask her not to prepare for their sessions, write about them in her journal, or talk about them with her friends, especially Bryher, who remained home in England. H.D.'s letters from Vienna filled the gap. Breezy, informal, irreverent, vibrant with detail, they revolve around her hours with Freud, making her correspondence unique in the spectrum of reminiscences, journals, memoirs, and biographies swirling around the legacy of the "Professor" and the movement he founded. The volume includes H.D. and Bryher's letters, as well as letters by Freud to H.D. and Bryher, most of them published for the first time. In addition, the book includes H.D. and Bryher's letters to and from Havelock Ellis, Kenneth MacPherson, Robert McAlmon, Ezra Pound, and Anna Freud, among others. Fully annotated with Index and Photographs

Freud was old and fragile. H.D. was forty-six and despairing of her writing life, which, for all her success, seemed to have reached a dead end. Her sessions with Freud proved to be the point of transition, the funnel into which she poured her memories of the past and associations in the present and from which she emerged reborn. Breezy, informal, irreverent, vibrant in detail, H.D.'s letters to her companion, the novelist Bryher, revolve around her hours with Freud. This volume includes H.D.'s and Bryher's letters, as well as letters by Freud to H.D. and Bryher, most of them published here for the first time. In addition, the book includes H.D.'s and Bryher's letters to and from Havelock Ellis, Kenneth MacPherson, Robert McAlmon, Ezra Pound, and Anna Freud, among others.

This biography begins with Gogol's death and ends with his birth, an inverted structure typical of both Gogol and Nabokov. The biographer proceeds to establish the relationship between Gogol and his novels, especially with regard to "nose-consciousness", a peculiar feature of Russian life and letters, which finds its apotheosis in Gogol's own life and prose. There are more expressions and proverbs concerning the nose in Russian than in any other language in the world. Nabokov's style in this biography is comic, but as always leads to serious issues-in this case, an appreciation of the distinctive "sense of the physical" inherent in Gogol's work. Nabokov describes how Gogol's life and literature mingled, and explains the structure and style of Gogol's prose in terms of the novelist's life.

Selected from New Directions' collections of Saroyan's early stories (The Man With the Heart In the Highlands) and his later work (Madness In the Family), Fresno Stories spans his whole remarkable career.

In his great triptych "The Millennium," Bosch used oranges and other fruits to symbolize the delights of Paradise.