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"As a poet," Snyder tells us, "I hold the most archaic values on earth. They go back to the late Paleolithic; the fertility of the soil, the magic of animals, the power-vision in solitude, the terrifying intuition and rebirth; the love and ecstasy of the dance, the common work of the tribe." He develops, as replacement for shattered social structures. a concept of tribal tradition which could lead to "growth and enlightenment in self-disciplined freedom. Whatever it is or ever was in any other culture can be reconstructed from the unconscious through meditation...the coming revolution will close the circle and link us in many ways with the most creative aspects of our archaic past."

"Zen enriches no one," Thomas Merton provocatively writes in his opening statement to Zen and the Birds of Appetite-one of the last books to be published before his death in 1968. "There is no body to be found. The birds may come and circle for a while... but they soon go elsewhere. When they are gone, the 'nothing,' the 'no-body' that was there, suddenly appears. That is Zen. It was there all the time but the scavengers missed it, because it was not their kind of prey." This gets at the humor, paradox, and joy that one feels in Merton's discoveries of Zen during the last years of his life, a joy very much present in this collection of essays. Exploring the relationship between Christianity and Zen, especially through his dialogue with the great Zen teacher D.T. Suzuki, the book makes an excellent introduction to a comparative study of these two traditions, as well as giving the reader a strong taste of the mature Merton. Never does one feel him losing his own faith in these pages; rather one feels that faith getting deeply clarified and affirmed. Just as the body of "Zen" cannot be found by the scavengers, so too, Merton suggests, with the eternal truth of Christ.

This landmark early book (its original printing by Angel Hair Books was 750 copies, and they are now extremely rare) by the late great Bernadette Mayer is finally available again, both as a tribute and a joy to read. Mayer was a marvelous poet in every stage of her long and prolific writing life, but many fans most admire her restless, powerful, sexy, and erudite early work. One of her signal elements is a certain deadpan wit, on full display here with classics such as "Lookin' Like Areas of Kansas" or "What Babies Really Do," or the marvelous "Essay":I guess it's too late to live on the farmI guess it's too late to move to a farmI guess it's too late to start farmingI guess farming is not in the cards now...I guess farming is really out ...I don't want to be a farmer but my mother was rightI should never have tried to rise out of the proletariatUnless I can convince myself as Satan argues with EveThat we are among a proletariat of poets of all the classesEach ill-paid and surviving on nothingOr on as little as one needs to surviveSteadfast as any farmer and fixed as the starsTenants of a vision we rent out endlessly

Zooming into tight focus on present-day life and dashing deep into the past in turns, the pace is fast and fierce in The Jamaica Kollection of the Shante Dream Arkive, which continues Marcia Douglas' "speculative ancestral project" (The Whiting Foundation) begun with The Marvellous Equations of the Dread. Her new poetic and eco-spiritual book carries further the cultural preservation so central to Douglas' vision. The Shante Dream Arkive brings alive a mosaic of characters-all searching through history for something or someone lost to the island: a mother searches for her missing child through time and space; an undocumented migrant's struggles with loss while living in the US; a youth wanders through dream-gates seeking liberation and the lost parts of himself. And one key to the whole is Zora Neale Hurston's left-behind camera. Each chapter/poem opens like an aperture onto another aspect of the dream story. And, each and every potent dream story contains the spirit, beauty, and riddim of Jamaica:For after three hundred years of slaughter, monk seals know better than to reveal themselves to humans. These days, they stay low, adapting to below surface conditions and establishing habitat with the underwater spirits of drowned horses and slaves disappeared overboard. For things happen below sea that have never been told. There is wheelin there and turnin; and far-far down past brochure azure, cerulean and indigo, there is a vast dark ink and vortices of voices caught up in such a trumpet of rah- &-glory bottomsea sound as to move earth's axis. And after that, more ink blue, and cobalt and sapphire and a calm-calm wata- velvet and kin to the moon brand new. The monk seals dare not go this far. But the spirits do.

The Peruvian poet César Vallejo-one of Latin America's most famous poets-was involved in various literary circles and began publishing his poems in 1914 in magazines, after discovering the works of Walt Whitman, the French symbolists, and the modernist Nicaraguan poet Rubén Dario. He brought out his first book of poems in 1919, Los heraldos negros, and in 1922, he published his famous Trilce, which met a cool reception. Vallejo spent many years of his life in Europe-in Paris and Spain. Like many of the surrealists, he became a Marxist, and he was an ardent supporter of the Republican cause during the Spanish Civil War. In his poems, Vallejo poignantly describes human misery, isolation, and anguish. As the translator Margaret Jull Costa explains: "Vallejo edited and redrafted and honed his poetry. This is the only way in which he could describe the antithetical, paradoxical, oxymoronic universe he was living in, by using language at full tilt, making it perform all kinds of acrobatics. The resulting poems often defy interpretation..." This marvelous new bilingual selection of poems spanning his career up to his early death confirms Robert Hass's assessment that Vallejo was "one of the essential poets of the twentieth century, a heartbreaking and groundbreaking writer."

Taking place entirely on a single evening-Friday, April 10, 1970-in a large Bogotá mansion, House of Fury tells a hair-raising story. Nacho Caiciedo, a magistrate of the Supreme Court of Justice, lives with his wife Alma and their six grown daughters. The Caiciedos have planned an enormous celebration in their home. But before the party has even started, the family is shocked by two pieces of news: their teenage daughter Italia is pregnant, and Alma's prodigal brother Jesús is expected at any moment. Guests from all levels of Bogotá society arrive, two earthquakes strike, and the party descends into debauchery; Nacho, out in the city streets, searching for Italia, is kidnapped by a ragtag militia, and its troops eventually invade the party and bring more chaos. House of Fury begins as a black comedy and unravels into a grim portent of the conflict that would rage across Colombia for fifty years.  As in Rosero's previous novels, House of Fury is an indelible, fantastical work that with its unforgettable characters and unflinching, poetic, and humane voice, brings to light Colombia's violent history.

The incendiary, sensual poems of Essex Hemphill, now in a new landmark selection

This radiant selection of Clarice Lispector's best and best-loved stories includes such familiar favorites as "The Smallest Woman in the World,""Love," "Family Ties," and "The Egg and the Chicken." Lispector's luminous regard for life's small revelatory incidents is legendary, and here her genius is concentrated in a fizzing, portable volume. Covert Joy offers the particular bliss a book can bring that she expresses in the title story: Joy would always be covert for me... Sometimes I'd sit in the hammock, swinging with the book open on my lap, not touching it, in the purest ecstasy.I was no longer a girl with a book: I was a woman with her lover

Marcel Proust's genius for illuminating pain is on spectacular display in this recently discovered trove of his correspondence, Letters to His Neighbor. Already suffering from noise within his cork-lined walls, Proust's poor soul was not ready for the fresh hell of his new upstairs neighbor, Dr. Williams, a dentist with a thriving practice directly above his head.Chiefly to Mme Williams, these ever-polite letters (often accompanied by flowers, books, or compliments) are frequently hilarious--Proust couches his pained frustration in gracious eloquence. In Lydia Davis's hands, the digressive brilliance of his sentences shines: "Don't speak of annoying neighbors, but of neighbors so charming (an association of words contradictory in principle since Montesquiou claims that most horrible of all are 1: neighbors and 2: the smell of post offices) that they leave the constant tantalizing regret that one cannot take advantage of their neighborliness." Richly illustrated with facsimile letters and photographs, Letters to His Neighbor is catnip for lovers of Proust.

"To disrupt the relationship of predator and prey, to reshape one's relation to power, is to renovate the lived and living world," Elizabeth Willis writes in her visionary work that delves deep into the ancient enchantments and disciplinary displays of the circus. Liontaming in America investigates the utopian aspirations fleetingly enacted in the polyamorous life of a nineteenth-century Mormon community, interweaving archival and personal threads with the histories of domestic labor, extraction economies, and the performance of family in theater, film, and everyday life.Lines reverberate between worldliness and devotion, between Peter Pan and Close Encounters, between Paul Robeson and Maude Adams, between leaps of faith and passionate alliances, between everyday tragedy and imaginative social possibility. As Willis writes in her afterword to the book, "The repeated unmaking and remaking of America, as a concept and as an ongoing textual project, is not impossible. It is happening all the time."

A fictional thirty-something writer named Osamu Dazai has just mailed his publisher a terrible manuscript, filling him with dread and shame. Shortly afterward, while moping around a park in suburban Tokyo, he spots a figure drowning in a nearby aqueduct.He doesn't want to become a witness to a suicide and eventually decides to flee the park. But as he is leaving, he trips over the boy who had been drowning, and the two begin an unlikely conversation that turns into an intellectual spat. Hoping to ingratiate himself with the boy--a high-school dropout--Dazai finds himself agreeing to perform that very night as the live narrator of a film screening in the boy's stead...So begins the madcap adventure of The Beggar Student, where there is glamor in destitution and glimmerings of truth in intellectual one-upmanship. Replete with settings straight out of the popular anime Bungo Stray Dogs and echoes of the themes in No Longer Human, this biting novella captures the infamous Japanese writer at his mordant best.

At the end of the 1980s, a writer on a book tour, who very much resembles Grass, passes through East Germany and visits the Cathedral of Naumburg with its famous twelve donor statues. He invites the sculptor's models to dinner--and they come, not as ghosts, but as they were when alive in the thirteenth century. Toward the end of dinner, after drinking an icy Coca-Cola, the model for the famed beauty Uta von Naumburg declares she has to go to work: a living statue.As he continues touring around Europe, the writer looks for Uta and her donation basket outside every cathedral he passes. At last, in Frankfurt, he sees her in front of Deutsche Bank and the two have a meeting with staggering consequences. As Grass said, "on paper everything is possible," and in this tale he gleefully erases the line between life and death, present and past.

"A bullet / then a siren / then ruins / then a bird song telling the truth"--Dunya Mikhail In her marvelous new poetry collection Tablets: Secrets of the Clay, Dunya Mikhail transforms the world's first symbols--Sumerian glyphs that were carved onto clay tablets--into the matter of our everyday contemporary life. Each of the ten sections in her book is composed of twenty-four short poems, and each poem combines both text and drawing. In her note to the collection, Mikhail writes, "I practiced at least two layers of translation in these tablets: the first from words in one language, Arabic, to another, English; and the second from words to images. What I received from my ancestors are offerings of the future rather than of the past. Now it's my turn to offer them to you."

It's hard to believe there could be a more enjoyable novel than Scattered All Over the Earth--Yoko Tawada's rollicking, touching, cheerfully dystopian novel about friendship and climate change--but surprising her readers is what Tawada does best: its sequel, Suggested in the Stars, delivers exploits even more poignant and shambolic.As Hiruko--whose Land of Sushi has vanished into the sea and who is still searching for someone who speaks her mother tongue--and her new friends travel onward, they begin opening up to one another in new and extraordinary ways. They try to help their friend Susanoo regain his voice, both for his own good and so he can speak with Hiruko--and amid many often hilarious misunderstandings (some linguistic in nature)--they empower each other against despair. Coping with carbon footprint worries but looping singly and in pairs, they hitchhike, take late-night motorcycle rides, and hop on the train (learning about railway strikes but also packed-train-yoga) to convene in Copenhagen. There they find Susanoo in a strange hospital working with a scary speech-loss doctor. In the half-basement of this weird medical center (with strong echoes of Lars von Trier's 1990s TV series The Kingdom), they also find two special kids washing dishes. They discover magic radios, personality swaps, ship tickets delivered by a robot, and other gifts. But friendship--loaning one another the nerve and heart to keep going--sets them all (and the reader) to dreaming of something more... Suggested in the Stars delivers new delights, and Yoko Tawada's famed new trilogy will conclude in 2025 with Archipelago of the Sun, even if nobody will ever want this "strange, exquisite" (The New Yorker) trip to end.

The first year of November eighteenth is coming to a close, and Tara Selter has returned to her hotel room in Paris, the place where it all began. As if perched at the edge of a precipice, she readies herself to leap into November nineteenth.Book II of Solvej Balle's astounding seven-part series On the Calculation of Volume beautifully expands on the speculative premise of Book I, drawing us further into the maze of time, where space yawns open, as if suddenly gaining a new dimension, extending into ever more fined-grained textures. Within this new reality, our senses and the tactility of things grows heightened: sounds, smells, sights, objects come suddenly alive, as if the world had begun whispering to us in a new language.And yet as the world announces itself anew, Tara's own sense of self is eroding, making her wonder just which bits of her are really left intact? "It is the Tara Selter with hopes and dreams who has fallen out of the picture, been thrown off the world, run over the edge, been poured out, carried off down the stream of eighteenths of November, lost, evaporated, swept out to sea." She begins to think of herself as a relic of the past, as something or someone leftover, similar to the little Roman coin she carries around in her pocket, without a purpose or a place.Desperate to recover a sense of herself within time, Tara decides to head north by train in search of winter, but soon she turns south in pursuit of spring, as she tries to grasp on to durational time through seasonal variations. Amazingly, On the Calculation of Volume Book II is all movement and motion--taking us through the European countries of the North and the South, through seasons, and languages--a beautiful travelogue that is also a love letter to our vanishing world. To be continued.

Tara Selter, the heroine of On the Calculation of Volume, has involuntarily stepped off the train of time: in her world, November eighteenth repeats itself endlessly. We meet Tara on her 122nd November 18th: she no longer experiences the changes of days, weeks, months, or seasons. She finds herself in a lonely new reality without being able to explain why: how is it that she wakes every morning into the same day, knowing to the exact second when the blackbird will burst into song and when the rain will begin? Will she ever be able to share her new life with her beloved and now chronically befuddled husband? And on top of her profound isolation and confusion, Tara takes in with pain how slight a difference she makes in the world. (As she puts it: "That's how little the activities of one person matter on the eighteenth of November.")Balle is hypnotic and masterful in her remixing of the endless recursive day, creating curious little folds of time and foreshadowings: her flashbacks light up inside the text like old flash bulbs.The first volume's gravitational pull--a force inverse to its constriction--has the effect of a strong tranquilizer, but a drug under which your powers of observation only grow sharper and more acute. Give in to the book's logic (its minute movements, its thrilling shifts, its slant wit, its slowing of time) and its spell is utterly intoxicating.Solvej Balle's seven-volume novel wrings enthralling and magical new dimensions from time and its hapless, mortal subjects. As one Danish reviewer beautifully put it, Balle's fiction consists of writing that listens. "Reading her is like being caressed by language itself."

The gentle giant Florian Herscht has a problem: having faithfully attended Herr Köhler's adult education classes in physics, he is convinced that disaster is imminent. And so, he embarks upon a one-sided correspondence with Chancellor Angela Merkel, to convince her of the danger of the complete destruction of all physical matter. Otherwise, he works for the Boss (the head of a local neo-Nazi gang), who has taken him under his wing and gotten him work as a graffiti cleaner and also a one-room apartment in the small eastern German town of Kana. The Boss is enraged by a graffiti artist who, with wolf emblems, is defacing all the various monuments to Johann Sebastian Bach in Thuringia. A Bach fanatic and director of an amateur orchestra, he is determined to catch the culprit with the help of his gang, and Florian has no choice but to join the chase. The situation becomes even more frightening, and havoc ensues, when real wolves are sighted in the area...Written in one cascading sentence with the power of atomic particles colliding, Krasznahorkai's novel is a tour de force, a morality play, a blistering satire, a devastating encapsulation of our helplessness when confronted with the moral and environmental dilemmas we face.

Here, in English at last, is a collection of Ágota Kristóf's short-sometimes very short-stories, which she selected herself, translated by the peerless Chris Andrews. Written immediately before her masterful trilogy (The Notebook, The Proof, The Third Lie), Kristof's short fictions oscillate between parable, surrealist anecdotes, and stories animated by a realism stripped to the bone, often returning to the theme of exile: the twin impossibilities of returning home and of reconstructing home elsewhere.The world of the book has very hard edges: cruelty is almost omnipresent, peace and consolation are scarce. Austere and minimalist, but with a poetic force that shifts the walls in the reader's mind, Kristof's penetrating short fictions make for extraordinary and essential reading.

A young Vietnamese woman living in Paris travels back to Saigon for her estranged mother's funeral. Her brother had recently built a new house in Saigon, including what was rumored to be the first elevator in a private home in the country, but days after moving in, their mother mysteriously fell down the elevator shaft, dying in an instant.After the funeral, the daughter becomes increasingly fascinated with her family's history and learns of an enigmatic figure, Paul Polotsky, from her mother's notebook. Like an amateur sleuth, she trails Polotsky through the streets of Paris. Meanwhile, she tries to find clues about her mother's past, which zigzags through Hà N?i, Sài Gòn, Paris, Pyongyang, and Seoul. Combining elements of the detective thriller, a historical romance, and the immigrant experience, Elevator in Sài Gòn is a scathing satire of life in a communist state and a heartbreaking postcolonial ghost story.

LONGLISTED FOR THE 2024 NATIONAL BOOK AWARD FOR TRANSLATED LITERATUREWinner of the Rómulo Gallego Prize, The Abyss is a caustic masterwork of incredible power and force, an unforgettable autobiographical work of queer fiction. The novel tells about the demise of a crumbling house in Medellín, Colombia. Fernando, a writer, visits his brother Darío, who is dying of AIDS. Recounting their wild philandering and trying to come to terms with his beloved brother's inevitable death, Fernando rants against the political forces that cause so much suffering. Vallejo is the heir to Céline, Thomas Paine, and Machado de Assis. He hurls vitriolic, savagely funny insults at his country ("I wipe my ass with the new Constitution of Colombia") and at his mother ("the Crazy Bitch") who has given birth to him and his many siblings. Within this firestorm of pain, Fernando manages to get across much beauty and truth: that all love is painful and washed in pure sorrow. He loves his sick brother and the family's Santa Anita farm (the lost paradise of his childhood where azaleas bloomed); and he even loves his country, now torn to shreds. Always, in this savage masterpiece about loss-as if in the eye of Vallejo's hurricane of talent-we are in the curiously comforting workings of memory and of the writing process itself, as, recollecting time, it offers immortality.

In her third collection in English, Phoebe Giannisi lays out her vision for a chimeric poetics that blends field recordings, state archives and ancient texts. The centre of Chimera engages with a three-year field research project on the goat-herding practices of the Vlachs, a nomadic people of Northern Greece and the Southern Balkans, who speak their own language. In these poems, day-to-day activities such as shearing and shepherding mix with snippets of conversations, oral tradition and song-locating a larger story in this ancient marriage between humans and animals. Through her poetry and fieldwork, this mytho-historical connection between metamorphosis and utterance takes form in what the Greek newspaper Kathimerini calls "a bold achievement....a studio wherein poems and other texts, other voices, become exhibited."

The outbreak of Covid-19 cut short Maria Stepanova's 2020 stay in Cambridge. Back in Russia, she spent the ensuing months in a state of torpor-the world had withdrawn from her, time had "gone numb." When she awoke from this state, she began to read Ovid, and the shock of the pandemic dissolved into the voices and metaphors of a transformative, epochal experience. Her book-length poem Holy Winter, written in a frenzy of poetic inspiration, speaks of winter and war, of banishment and exile, of social isolation and existential abandonment. Stepanova finds sublime imagery for the process of falling silent, interweaving love letters and travelogues, Chinese verse and Danish fairy tales into a polyphonic evocation of frozen time and its slow thawing.As a poet and essayist, Stepanova was a highly influential figure for many years in Moscow's cosmopolitan literary scene until it was strangled by Putin, along with civil liberties and dissent. Like Joseph Brodsky before her, she has mastered modern poetry's rich repertoire of forms and moves effortlessly between the languages and traditions of Russian, European, and transatlantic literature, potently yet subtly creating a voice like no other.Her poetry, which here echoes verses by Pushkin and Lermontov, Mandelstam and Tsvetaeva, is not hermetic. She takes in and incorporates the confusing signals from social networks and the media, opening herself up to the voices of kindred poets like Sylvia Plath, Inger Christensen, and Anne Carson.

In Festival, the genius postmodern sci-fi filmmaker Alec Steryx is the star guest of a film festival in an unnamed country. But he's brought a surprise: his nonagenarian mother. Everyone is baffled: Why? Half-blind and terminally cranky, she does nothing but complain, despite insisting on attending every screening and reception. As Steryx's mother gums up the works for the festival organizers, larger problems are in store ... A delightfully baroque comedy of errors, Festival, is, all at once, a loving parody of the institutions that support artists, a meditation on postmodern art, and a propulsive, lyrical, surreal adventure. In the far, far, future, a middle-aged father has fallen behind the times. Bemused and disturbed, he watches his children play the eponymous Game of the Worlds, a Total Reality war game that involves the annihilation of countless alien civilizations-which are at least as real as the narrator's own. As he debates the ethics of the game, struggles with his home's "intelligent system," and fumblingly manipulates his Discourse Corrector (a dead ringer for ChatGPT) on virtual beachside dates, an errant thought threatens to set a world-ending chain of logic into motion: the return of the Idea of God... Epic and domestic, madcap and musing by turns, this prescient novel reads like a message in a bottle from a bewitchingly strange yet all-too familiar future.

Far Far Away is the Colombian master Evelio Rosero's ninth novel and has been billed by his Spanish publisher as "one of the most important Colombian works of fiction written in the past two decades." In search of his missing granddaughter Rosaura, an old man named Jeremías Andrade arrives in a town strewn with dead mice and overflowing with mist and fog. The owner of a rotten hotel and the dwarf who always accompanies her; children who play with sinister soccer balls and observe life from the ruined rooftops; an albino named Bonifacio who appears and disappears like a ghost; the cart driver whose only task is to pick up the mice piling up night after night; the charitable nuns in a nearby convent - these are the characters that converge in a vigil turned nightmare. Jeremías's wanderings reveal a haunting truth, and a possibility of reunion in a place where all is lost, a forever-gaping abyss.

A novel of intense, flickering intelligence, Tell is structured as a series of interviews with a woman who worked as a gardener for a wealthy businessman and art collector who has mysteriously disappeared, and may or may not have committed suicide. What might be a gloomy subject is instead alluring, lit from within by a lively deep knowledge of human nature: Buckley's eye for motivations brings to mind a Thomas Hardy for our atomized 21st-century. A thrilling novel of strange, intoxicating immediacy, Tell carries the pleasures of exciting new gossip enjoyed with a rare old cognac by a crackling fire. Calling his work "captivating," John Banville has asked: "Why isn't Jonathan Buckley better known?"

SHORTLISTED FOR THE 2024 NATIONAL BOOK AWARD FOR POETRYPublished here in a stunning edition with images created by Carson, several of the twenty-five startling poetic prose pieces have appeared in magazines and journals like The New Yorker and The Paris Review. As Carson writes: "Wrong Norma is a collection of writings about different things, like Joseph Conrad, Guantánamo, Flaubert, snow, poverty, Roget's Thesaurus, my Dad, Saturday night. The pieces are not linked. That's why I've called them 'wrong.'"

Deep in a maze of musty, forgotten hallways, Mudito rummages through piles of old newspapers. The mute caretaker of the crumbling former abbey, he is hounded by a coven of ancient witches who are bent on transforming him, bit by bit, into the terrifying imbunche: a twisted monster with all of its orifices sewn up, buried alive in its own body. Once, Mudito walked upright and spoke clearly; once he was the personal assistant to one of Chile's most powerful politicians, Jerónimo de Azcoitía. Once, he ruled over a palace of monsters, built to shield Jeronimo's deformed son from any concept of beauty. Once, he plotted with the wise woman Peta Ponce to bed Inés, Jerónimo's wife. Mudito was Humberto, Jerónimo was strong, Inés was beautiful-once upon a time... Narrated in voices that shift and multiply, The Obscene Bird of Night frets the seams between master and slave, rich and poor, reality and nightmares, man and woman, self and other in a maniacal inquiry into the horrifying transformations that power can wreak on identity.Now, star translator Megan McDowell has revised and updated the classic translation, restoring nearly twenty pages of previously untranslated text that was mysteriously cut from the 1972 edition. Newly complete, with missing motifs restored, plots deepened, and characters more richly shaded, Donoso's pajarito (little bird), as he called it, returns to print to celebrate the centennial of its author's birth in full plumage, as brilliant as it is bizarre.

The seven stories of You Glow in the Dark unfold in a Latin America wrecked and poisoned by human greed, and yet Colanzi's writing-at once sleek and dense, otherworldly and intensely specific-casts an eerily bright spell over the wreckage. Some stories seem to be set in a near future; all are superbly executed and yet hard to pin down; they often leave the reader wondering: was that realistic or fantastic? Colanzi draws power from Andean cyberpunk just as much as from classic horror writers, and this daring is matched by her energizing simultaneous use of multiplicity and fragmentation-the book's stylistic trademarks. Freely mixing worlds, she uses the Bolivian altiplano as the backdrop for an urban dystopia and blends Aymara with Spanish. Colanzi never gets bogged down; she can be brutal and direct or light-handed and subtle. Her materials are dark, but always there's the lift of her vivid sense of humor. You Glow in the Dark seizes the reader's attention (from the title on) and holds it: this is a book that announces the arrival of a major new talent.

How splendid and impressive to have a complete, clear, and unobstructed view of Denise Levertov. Covering more than six decades and including, chronologically, every poem she ever published, Levertov's Collected Poems presents her marvelous, groundbreaking work in full.Born in England, Denise Levertov emigrated in 1948 to the United States, where she was acclaimed by Kenneth Rexroth in The New York Times as "the most subtly skillful poet of her generation, the most profound, the most modest, the most moving." A staunch anti-war activist and environmentalist, and the winner of the Robert Frost Medal, the Shelley Memorial Award, and the Lannan Prize, Denise Levertov inspired generations of writers. New Directions is proud to publish this landmark collected poems of one of the twentieth century's greatest poets.