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"The melancholy folklore of exile," as Roberto Bolaño once put it, pervades these fourteen haunting stories. Bolano's narrators are usually writers grappling with private (and generally unlucky) quests, who typically speak in the first person, as if giving a deposition, like witnesses to a crime. These protagonists tend to take detours and to narrate unresolved efforts. They are characters living in the margins, often coming to pieces, and sometimes, as in a nightmare, in constant flight from something horrid.In the short story "Silva the Eye," Bolaño writes in the opening sentence: "It's strange how things happen, Mauricio Silva, known as The Eye, always tried to escape violence, even at the risk of being considered a coward, but the violence, the real violence, can't be escaped, at least not by us, born in Latin America in the 1950s, those of us who were around 20 years old when Salvador Allende died."Set in the Chilean exile diaspora of Latin America and Europe, and peopled by Bolaño's beloved "failed generation," the stories of Last Evenings on Earth have appeared in The New Yorker and Grand Street.

With compassion, veracity and wit, in The Member of the Wedding Carson McCullers depicts the intrinsically enmeshed lives of whites and blacks in the American South. Julie Harris became a star playing the awkward, twelve-year-old tomboy Frankie Adams, who falls deeply in love with her older brother and his fiance. Exhilarated by her naive conviction that being a member of their wedding means she will become what she calls the "we of me," Frankie is devastated when she learns she is not invited on the honeymoon. Bernice Sadie Brown, who has experienced a lifetime of love and loss, is a surrogate mother for Frankie. Portrayed on stage and in the film versions by the great Ethel Waters, Bernice is an epic character, fiercely loyal, down-to-earth, and centered by deep faith.

I am speaking now of the Dream in which America sleeps, the New World, moaning, floundering, in three hundred years of invasions, our own history out of Europe and enslaved Africa.Robert Duncan, from GroundworkRobert Duncan has been widely venerated as one of America's most essential poets: Allen Ginsberg described his poetry as "rapturous wonderings of inspiration," Gwendolyn Brooks called it "a subtle spice," and Susan Howe pointed to Duncan as "my precursor father," Lawrence Ferlinghetti said he "had the finest ear this side of Dante," and Robert Creeley called him "the magister, the singular Master of the Dance."Now Duncan's magnum opus, Groundwork, is available in one groundbreaking edition. The first volume, Groundwork I: Before the War, was published in 1984, after a fifteen-year publishing silence, and received immediate acclaim: it was nominated for a National Book Critics Circle Award and won the first National Poetry Award for Duncan's "lifetime devotion to the art of poetry and his grand achievement...." The second volume, Groundwork II: In the Dark, was published in February 1988, the month of Duncan's death. The internationally renowned poet Michael Palmer has written a marvelous introduction for this new edition, where "the singlemindedness of [Duncan's] life's work shows itself in the confident energy of every line" (Voice Literary Supplement).

Written in 1910 when Pound was only 25 years old, and later revised by the author, this critical work has long stood as an important stage in the development of Pound's poetics, and a dramatic revaluation of Europe's literary tradition. Pound surveys the course of literature from the fall of the Roman Empire through the dawn of the Renaissance, paying special attention to the Provençal poets and to Dante. Now with an introduction by Richard Sieburth, this work illuminates a great period in European literature and one of America's greatest poetic minds.

Anti-war poems by Denise Levertov, a passionate advocate of peace and justice and one of the greatest American poets of the twentieth century.Denise Levertov achieved recognition as a poet at a young age, winning the admiration of such older poets as T.S. Eliot and William Carlos Williams. Though she initially drew a line between her poetic works and her commitment to peace and justice, the Vietnam War inspired a change, and at the time of her death in 1997, she was acclaimed not only for her poetry, but also for her political engagement. Making Peace collects Levertov's finest poems about war and peace, subjects which she addresses with passion and nuance. Spanning the last three decades of her life, their subjects range from Vietnam to the death-squads of El Salvador to the first Gulf War. Often brutally vividin "The Certainty" she writes, "war / means blood spilling from living bodies"Levertov's poems always have at their core her love for humanity, even as she registers her horror at what humans do to one another.Introduced by Levertov scholar Peggy Rosenthal, these poems mirror the destruction that we witness today, but they also hold within them, as Levertov writes, "a small grain of hope."

Skipper, an ex-World War II naval Lieutenant and the narrator of Second Skin, interweaves past and present-what he refers to as his "naked history"-in a series of episodes that tell the story of a volatile life marked by pitiful losses, as well as a more elusive, overwhelming, joy. The past: the suicides of his father, wife and daughter, the murder of his son-in-law, a brutal rape, and subsequent mutiny at sea. The present: caring for his granddaughter on a "northern" island where he works as an artificial inseminator of cows, and attempts to reclaim the innocence with which he faced the tragedies of his earlier life. Combining unflinching descriptions of suffering with his sense of beauty, Hawkes is a master of nimble and sensuous prose who makes the awful and mundane fantastic, and occasionally makes the fantastic surreal.

In 1936, Pablo Neruda was Chile's consul in Madrid, and so horrified by the civil war and the murder of his friend, Federico Garcia Lorca, that he started writing what became his most politically passionate series of poems, Spain in Our Hearts. The collection was printed by soldiers on the front lines of the war, and later incorporated into the third volume of Neruda's revolutionary collection, Residence on Earth. This bilingual New Directions Bibelot edition presents Spain in Our Hearts as a single book as it was first published, a tribute to Neruda's everlasting spirit.

A stunning and unexpected new volume of Elias Canetti's autobiography. A surprise gift to celebrate the Nobel Laureate's 100th birthday.Nobel Prize winner Elias Canetti, at 85, beset by the desire to come to terms with his years of exile in Britain, wrote Party in the Blitz. He waited half a century to confront these memories, perhaps because "in order to be truthful, I should have to track down every needless humiliation I was offered in England, and relive it as the torture it was." Party in the Blitz dissects that torture with unrestrained acerbity, recounting the ordeal of being in a new country where not a soul knew his writing. But not one to be ignored, "the godmonster of Hempstead" (as John Bayley dubbed Canetti) soon knew everyone and everyone knew him. Enoch Powell, Bertrand Russell, Iris Murdoch, Empson, Wittgenstein, Kokoshka, Kathleen Raine, Henry Moore, Ralph Vaughn Williams: Canetti knew them all, and in Party in the Blitz he mercilessly rakes some of them over the coals. He detested T.S. Eliot and came to bitterly despise Iris Murdoch, with whom he had an affair: Every word of his devastating portrait of her quivers with rage. "He must have been a frequent party-goer," as Jeremy Adler remarks in his excellent afterword, "to judge by the well-informed distaste with which he recalls them." Gorgeously translated by Michael Hofmann, Party in the Blitz lives up to Canetti's injunction that "when you write down your life, every page should contain something no one has ever heard about."

Winner of the National Book Critics Circle Award. New Directions is excited to reissue the Gardner classics, beginning with October Light, a complex relationship rendered in a down-to-earth narrative.October Light is one of John Gardner's masterworks. The penniless widow of a once-wealthy dentist, Sally Abbot now lives in the Vermont farmhouse of her older brother, 72-year-old James Page. Polar opposites in nearly every way, their clash of values turns a bitter corner when the exacting and resolute James takes a shotgun to his sister's color television set. After he locks Sally up in her room with the trashy "blockbuster" novel that has consumed her (and only apples to eat), the novel-within-the-novel becomes an echo chamber providing glimpses into the history of the family that spawned these bizarre, sad, and stubborn people. Gardner uses the turbulent siblings as a stepping-off point from which he expands upon the lives of their extended families, and the rural community that surrounds them. He also engages larger issues of how liberals and conservatives define themselves, and considers those moments when life transcends all their arguments.

Essayist Eliot Weinberger sets his sights on the Bush team with brilliant, thought-provoking, funny consequences.Written for publication in magazines abroad, translated into sixteen languages, and collected here for the first time, Eliot Weinberger's chronicles of the Bush era range from first-person journalism to political analysis to a kind of documentary prose poetry. The book begins with the inauguration of George W. Bush in January 200land an eerie prediction of the invasion of Iraqand picks up on September 12, with an account of downtown Manhattan, where Weinberger lives, on the "day after." With wit and anger, and sometimes startling prescience, What Happened Here takes us through the first term of the "Bush junta": the deep history of the neoconservative "sleeper cell," the invention of the War on Terror, the real wars in Afghanistan and Iraq, and the often bizarre behavior of the Republican Party. For twenty-five years, Eliot Weinberger has been taking the essay form into unexplored territory. In What Happened Here, truth proves stranger than poetry.

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.

In 1937 the power-mad racist Generalissimo Trujillo ordered the slaughter of thousands and thousands of Haitians and, as Philoctète puts it, death set up shop everywhere. At the heart of Massacre River is the loving marriage of the Dominican Pedro and the Haitian Adele in a little town on the Dominican border. On his way to work, Pedro worries that a massacre is in the making; an olive-drab truck packed with armed soldiers rumbles by. And then the church bells begin to ring, and there is the relentless voice on the radio everywhere, urging the slaughter of all the Haitians. Operation Cabezas Haitianas (Haitian Heads) is underway, the soldiers shout, "Perejil! [Parsley!] Perish! Punish!" Haitians try to pronounce "perejil" correctly, but fail, and weep. The town is in an uproar, Adele is ordered to say "perejil" but stammers. And Pedro runs home and searches for his beloved wife, searches and searches " The characters of this book not only inspired the love and outrage of an extraordinary writer like Philoctète," writes Edwige Danticat, "but continue to challenge the meaning of community and humanity in all of us."

Written in spare, highly concentrated language, "a sustained feat of verbal economy" (Die Zeit), the one novella and four stories in The Old Child go beyond the limits of the expected, the real. Dark, serious, often mystical, these marvelous fictions about women's lives provide glimpses into the minds of outcasts and eccentrics, at the same time bearing out Dostoevsky's comment that hope can be found so long as a man can see even a tiny view of the sky.

An icon of literature as American Pop Art, Frederic Tuten's Adventures of Mao on the Long March is a triumphantly witty and subversive novel. The New York Times called it "almost too good to be true." Tuten's deadpan textbook narrative of Mao's Long March is peppered with loving parodies of Hemingway, Kerouac, Dos Passos, and Malamud. As John Updike comments, the book includes "twenty-seven pages of straight history of the Long March (October 1934-October 1935), done in a neutral, factual tone, as by a fellow-traveling Readers Digest...thirty-six and a half pages of quotations in quotation marks...and twenty-six pages of what might be considered normal novelistic substance-imaginary encounters and conversation. For an example: 'a tank, covered with peonies and laurels, advances towards him. Mao thinks the tank will crush him, but it clanks to a halt. The turret rises, hesitantly. Greta Garbo, dressed in red sealskin boots, red railway-man's cap, and red satin coveralls, emerges. She speaks: "Mao, I have been bad in Moscow and wicked in Paris, I have been loved in every capital, but I have never seen a MAN whom I could love. That Man is you, Mao, Mao mine." Mao considers this dialectically. The woman is clearly mad. Yet she is beautiful and the tank seems to work.'"

Twenty essays about Bei Dao's life in exile since Tiananmen Square. "Knowledge of death is the only key that can open midnight's gate."Bei Dao Bei Dao has gained international acclaim over the last decade for his haunting interior poetic landscapes; his poetry is translated and published in some twenty-five languages around the world. Now, in Midnight's Gate, Bei Dao redefines the essay form with the same elliptical precision of his poetry, but with an openness and humor that complements the complexity of his poems. The twenty essays of Midnight's Gate form a travelogue of a poet who has lived in some seven countries since his exile from China in 1989. The work carries us from Palestine to Sacramento. At one point we are led into a basement in Paris for a production of Gorky's Lower Depths, the next moment we are in the mountains of China where Bei Dao worked for eleven years as a concrete mixer and ironworker. The subjective experience deepens and multiplies in these essays, filled with the stories of ordinary Chinese immigrants, as well as those of literary, artistic, and political figures. And it all coheres with a poet's observations, meditations, and memories.

Tibor Déry (1894-1977), winner of Hungary's highest artistic honor, the Kossuth Prize, in 1948, was first imprisoned in 1934 by the Horthy regime for translating André Gide's diary of his journey to Russia, and again, over twenty years later, for his writings and political activities during the Hungarian Revolt of 1956 against Soviet occupation. Around the world, Tibor Déry Committees formed: Picasso, Camus, Sartre, Bertrand Russel, E.M. Forster, and in the Indian Congress Committee were among the many involved.Today, Tibor Déry is venerated as one of the most important literary figures of Hungary and, like Chekhov, a master of the modern short story. Love and Other Stories presents some of Déry's finest work. In "Games of the Underworld," ordinary people in Budapest try to survive the winter of war in cramped cellars and encounter menacing Arrow-Cross men, a towering giant, a blind horse, a vinegar sponge; in "The Circus," a group of bored children transmogrifies into a grotesque spectacle; in "Love," a political prisoner is released after seven years and returns home to his wife and son. George Szirtes, the award-winning translator from the Hungarian and winner of the 2004 T.S. Eliot Prize for poetry, gives a brilliant introduction to this visionary collection that deals passionately with questions of responsibility and conscience, of social justice and renewal.

A new, broad, comprehensive view of the innovative poetry of the late, great Trappist monk and religious philosopher Thomas Merton. Poet, Trappist monk, religious philosopher, translator, social criticthe late Thomas Merton was all these things. Until now, no selection from his great body of poetry has afforded a comprehensive view of his varied and largely innovative work. In the Dark Before Dawn: New Selected Poems of Thomas Merton is not only double the size of Merton's earlier Selected Poems (1967), it also arranges his poetry thematically and chronologically, so that readers can follow the poet's multifarious interrelated lines of thought as well as his poetic development over the decades, from his college days in the 1930s to his untimely accidental death in Bangkok in 1968 during his personal Eastern pilgrimage. The selections are grouped under eight thematic headings"Geography's Landscapes," "Poems from the Monastery," "Poems of the Sacred," "Songs of Contemplation," "History's Voices: Past and Present," "Engaging the World," "On Being Human," "Merton and Other Languages."

Jorge Luis Borges is the hero of this literary whodunit by one of Brazil's most celebrated writers. Vogelstein is a loner who has always lived among books. Suddenly, fate grabs hold of his insignificant life and carries him off to Buenos Aires, to a conference on Edgar Allan Poe, the inventor of the modern detective story. There Vogelstein meets his idol, Jorge Luis Borges, and for reasons that a mere passion for literature cannot explain, he finds himself at the center of a murder investigation that involves arcane demons, the mysteries of the Kaballah, the possible destruction of the world, and the Elizabethan magus John Dee's theory of the "Eternal Orangutan," which, given all the time in the world, would end up writing all the known books in the cosmos. Verissimo's small masterpiece is at once a literary tour de force and a brilliant mystery novel.

A comprehensive selection of poems and essays spanning the career of one of China's most celebrated 20th-century poets. "You can write poetry and then again you can't. It comes into this world of its own accord, not by the will of the poet."Gu Cheng Gu Cheng (1956-1993) is one of China's most celebrated contemporary poets. His early death ended a literary career that was influenced by the Cultural Revolution and that reawakened the lyricism of Chinese poets during the 1980s. Offering a unique blend of brooding imagism and political innuendo, Gu Cheng's poetry traces complex changes in the poet's lifefamilial, psychological, culturaland also radiates an innocence and a touching melancholy. His poetry began on the farms in Shandong province where his parents were exiled during the Cultural Revolution, and ended on a small island in New Zealand where he took up a Thoreau-like existence before his tragic suicide. His poem "One Generation" became emblematic for the generation coming of age in China in the '60s and '70s. Here for the first time is poetry based on the poet's own personal selections from his work, Sea Basket Blue. There are also prose works, including excerpts of Gu Cheng's novel Ying'er, plus a selection of his essays.

In A Fifth of November, Paul West describes the events surrounding the English Gunpowder Plot (1605). Instigated by thirteen Catholic conspirators, most famously Guy Fawkes, the Plot was a failed attempt to blow up the English Parliament and King James I. At the heart of West's novel are the trials of Father Henry Garnet, superior of the English Jesuits, who is hidden from the king's henchmen behind the walls of English mansions. Shielding him from harm is the melancholy noblewoman Anne Vaux, a Catholic sympathizer. A Fifth of November tells the tale of Garnet: it begins when he first hears of the plot the conspirators have confessed their plan to him, what is his responsibility?--to his imprisonment in the Tower of London. All along, the figures who partake of this historical moment are brightly, often horrifically, drawn. In A Fifth of November, West tackles through his rhapsodic language, brilliant characterizations, and historical precision that inevitable topic: human evil.

A heartwrenching tale of a family's dissolution told from a child's crystalline perspective. Luck is the beautiful, bittersweet, and very funny novel about a nuclear family living in a small German townwonderfully translated by Gert Hofmann's son, acclaimed translator and poet Michael Hofmann. It begins and ends on the same day, the "last day" of the narrator's childhood as he prepares to leave home with Father, because Mother is waiting for her new man to arrive, and his sister will stay behind. Or will they really leave? Mother sits in her room, squirting herself with perfume. Father endlessly postpones his packing, hoping for a magical conversation that will mend his marriage. His little sister spits on her new dress, and asks....

"Real seriousness," Nicanor Parra, the antipoet of Chile, has said, rests in "the comic." And read in that light, this newest collection of his work is very serious indeed. It is an abundant offering of his signature mocking humor, subverting received conventions and pretensions in both poetry and everyday life, public and private, ingeniously and wittily rendered into English in an antitranslation (the word is Parra's) by Liz Werner. Of the fifty-eight pieces in Antipoems, the first twenty-three are taken from Parra's 1985 collection, Hojas de Parra ("Vine Leaves" or "Leaves of Parra"), two others appeared in his Paginas en Blanco ("Blank Pages," 2001), while the rest come straight out of his notebooks and have never been published before, either in Spanish or English. The book itself is divided into two sections, "Antipoems" (im)proper and a selection of Parra's most recent incarnation of the antipoem, the hand-drawn images of his "Visual Artefactos."As his anti-translator Liz Werner explains in her Introduction, Parra's scientific training infuses his work. "Viewed through the lens of antimatter," she writes, "antipoetry mirrors poetry, not as its adversary but as its perfect complement."

Antonio Tabucchi, Italy's premier writer and a best-selling author throughout Europe, draws together Manolo the gypsy, Firmino, a young tabloid journalist with a weakness for Lukacs and Vittorini, and Don Fernando, an overweight lawyer with a professed resemblance to the actor Charles Laughton, to solve a murder that leads far up and down Portugal's social ladder. As the investigation leads deeper into Portugal's power structure, the novel defies expectations, departing from the formulaic twists of a suspense story to consider the moral weight of power and its abuse.

Scathingly clever short stories. Includes "The Devil in the White House" and "The Development of Iraq as a Case for the Files." At once a genuine story-teller and a literary documentarian, Alexander Kluge's genius lies in the very special way he makes found material his own. Each of the miniatures collected here touches on "facts" and is only several pages long. In just a paragraph he can etch a whole world: he is as great a master of compression as Kafka or Kawabata. Arranged in five chapters, the dozens of stories of The Devil's Blind Spot are condensed, like novels in pill form. The first group of stories illustrates the little-known virtues of the Devil. The second explores love from Kant and opera through the Grand Guignol. The third is entitled "Sarajevo Is Everywhere" and tests how convincing power is. The fourth group concerns the cosmos, and the fifth ranges all our "knowledge" against our feelings. In each piece, Kluge alights on precise particulars: on board the atomic submarine Kursk, for instance, we are marched precisely step by step through a black comedy of the exact, disastrous stages of thinking that lead to catastrophe. Sample titles include "The Devil in the White House," "The Development of Iraq as a Case for the Files," "Intelligence of the Second Degree," and "Love's Mouth Also Kisses the Dog."

First published by New Directions in 1940, In the Money is a sequel to White Mule, and the second volume in Dr. Williams's "Stecher Trilogy," but it also stands alone as a novel complete in itself. White Mule is a study of childhood--of the baby Flossie Stecher and her sister Lottie, and their parents, Joe and Gurlie Stecher, of German and Norwegian origin, living in New York before the first World War. In the Money is Joe Stecher's success story--the tale of his fight against graft and injustice to found his own business and get "into the money." Joe is by nature quiet and reserved. But his wife Gurlie is full of ambition and drives him on toward the things she wants--position and a home of her own. It is a simple story, yet a meaningful one--a typical American situation. As a novelist, one of Dr. Williams's strengths is his striking use of detail, an "objectivism," related to the style of his poetry; which achieves great, even symbolic force in its enlargement of the minutiae of American life and character.

In the seventy-three poems collected here Muriel Spark works in open forms as well as villanelles, rondels, epigrams, and even the tour de force of a twenty-one page ballad. She also shows herself a master of unforgettable short poems. Before attaining fame as a novelist (Memento Mori, The Prime of Miss Jean Brodie), Muriel Spark was already an acclaimed poet. The "power and control" of her poetry, as Publishers Weekly remarked, "is almost startling." With the vitality and wit typical of all her work, Dame Muriel has never stopped writing poems, which frequently appear in The New Yorker. As with all her creations, the poems show Spark to be "astonishingly talented and truly inimitable" (The San Francisco Chronicle).

An evocative, often mischievous remembrance and reinvention by the poet of his youth in the New York City of the '40s and '50s. In Loew's Triboro, John Allman's fourth collection of poems with New Directions, the poet recalls the movie palace in Astoria, Queensone of the five boroughs of New York Cityand its centrality to the lives and fantasies of the people in the neighborhood. In a combination of prose poems and free verse, sometimes darkly funny, Allman juxtaposes vignettes from the streets of Astoria with the movies of the period, revisioning such film noir classics as The Postman Always Rings Twice, Double Indemnity, and The Asphalt Jungle. The book itself becomes a narrative place where real and cinematic lives interact, where movies are the engines of history and myth and the motif of journey is implicit from the first poem to the last.

Delmore Schwartz (1913-1966) was one of the finest writers of his generation. Winner of the prestigious Bollingen Prize and the Poetry Society of America's Shelley Memorial Award, he was hailed by John Ashbery as "one of the major twentieth-century poets." Schwartz's stories were also widely read and loved, admired by James Atlas for their "unique style that enabled Schwartz to depict his characters with a sort of childlike verisimilitude." Graced with an introduction by Cynthia Ozick, this New Directions Bibelot, Screeno: Stories & Poems, gathers many of Schwartz's most popular works, including: "In Dreams Begin Responsibilities," "America, America!" "The Heavy Bear who Goes with Me," and "Screeno." Also included is a newly discovered story, "The Heights of Joy," which appeared in the magazine Boulevard in 2002. Delmore Schwartz's life is legendary. The brightest star of the Partisan Review's post-war intellectual circle, a lecturer at Harvard and Princeton, and perhaps the greatest poet of his generation, he was stricken by a cruel mental illness and died after living in solitude in a Manhattan hotel. Yet it is his work that endures: "What complicates and enriches Schwartz's comedy," says Irving Howe, "is, I think, a reaching out toward nobility, a shy aspiring spirituality, a moment or two of achieved purity of feeling."

A romantic and a populist, Jimmy Santiago Baca celebrates nature and creativity: the power of "becoming more the river than myself" in Winter Poems Along the Rio Grande. These poems are an expansive meditation on Baca's spiritual life, punctuated always with his feetrepeatedly, rhythmicallyon the ground as he runs every morning along the river. Baca contemplates his old life, his new love, his family and friends, those living and those dead, injustices and victories, and Chicano culture. As Denise Levertov remarked, Baca "writes with unconcealed passion" and "manifests both an intense lyricism and that transformative vision which perceives the mythical and archetypal significance of life events."