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This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

Starting from two poignant and prophetic lines by the martyred Spanish poet Federico Garcia Lorca, "Look at his spent body / blackened with shadows and wolves," William Herrick's novel evokes a contemporary Spain where the fraternal clash of loyalists and fascists has given way to the conflict between conservatives and revolutionaries--fathers and sons. In portraits of the punctilious General Luis Alfara Fernandez, who never questioned the wishes of his General, and his terrorist son Rodolfo, who always questioned his father's arbitrary authority, Herrick's narrative is as stark and mercilessly lighted as the Andalucian landscape.

Vienna Blood & Other Poems is in some ways the most synthesizing of Jerome Rothenberg's recent collections, pulling together work from the 1970s that stands apart from Poland/1931 (1974) and A Seneca Journal (1978) yet at the same time continuing the enactment of past and present begun in those books. But where before he chose to restrict his exploration to ancestral Jewish and Amerindian poetries, Rothenberg now takes us on a series of broader journeys through the collapsed landscape of what he calls the 'new wilderness," evoked as place, as structure, as mind. Written both to be read quietly on the printed page and aloud in performance, the poems in Vienna Blood, though experimental and language-centered, are nevertheless the work of a poet who, by his own admission, is "crazy for content, make no mistake about it." As if to underscore this point, he has appended brief comments to most of the major sections of the book, in order, as he says, "to give it some context in the way of 'oral tradition' usually reserved for poetry readings, etc., a little of which I now commit to writing."

Denise Levertov's Collected Earlier Poems 1940-1960 brings under one cover the first published works of a poet who, though born and raised in Great Britain, has long held a distinctive place in postwar American letters. Initiating a major literary undertaking, the volume includes a group of hitherto ungathered poems, selections from Ms. Levertov's earliest book, The Double Image (1946), published in London, and her three following collections in their entirety: Here and Now (1957), Overland to the Islands (1958), and With Eyes at the Back of Our Heads (1960). Living in the United States since the late 1940s, Ms. Levertov has often been associated with the Black Mountain poets, while from the mid- 1960s onward she has been one of the foremost activists in the antiwar and anti-nuclear movements. Yet even in her more "political" poems, her dominant perception has continued to be of the intricate beauty, the mystery of life as it is lived. In announcing Ms. Levertov the winner of the 1975 Lenore Marshall Poetry Prize, Hayden Carruth said of her: "For twenty-five years Denise Levertov has been one of our most prominent poets... Today she is a woman at the crest of her maturity, acute in perceptions, wise in responses, and an artist, moreover, whose technique has kept pace with her personal development." With Collected Earlier Poems 1940-1960, readers have the opportunity of following Ms. Levertov's remarkable poetic development from its very beginnings.

Available until now only in verse translation, it has been newly rendered for the American stage by Diana Stone Peters and Frederick G. Peters.A work of profound psychological insight, Prince Friedrich of Homburg probes with passionate intensity questions fundamental to "civilized" behavior. Prince Friedrich, the hero of the historic battle of Fehrbellin (1675) against the invading Swedes, receives not laurels for his victory but the sentence of death for disobeying orders in the field. Faced with certain execution, his mood swings from abject terror to high-minded exultation as first he challenges, and then accepts, the rule of law and subservience to the state. The action moves relentlessly in the near-frenzied pace characteristic of Kleist. Intended as a paean to a Prussia triumphant in the Napoleonic wars. the play was, ironically, censured and never produced in Kleist's lifetime. In our own day, Prince Friedrich of Homburg has been both denounced as a protofascist work and lauded as a supreme metaphysical disquisition. Whatever the merits of such intellectualization, it remains one of the most moving and performable plays available for the modern stage.

"If in every mind burns a flame of the Buddha's Enlightenment," Christmas Humphreys writes in his foreword to The Wisdom of the Zen Masters, "there is nothing to seek and nothing to acquire. We are enlightened, and all the words in the world will not give us what we already have. The man of Zen, therefore, is concerned with one thing only, to become aware of what he already is..." The task of the Japanese Zen master has been to guide his pupils in their awakening. The means used vary--from severe physical discipline to the proposition of enigmatic riddles, or koans--but always to the same end, Enlightenment: experiencing the Great Death of the worldly "I."

Although it first appeared after his death in 1968, he had arranged for its publication, written a foreword for it, and was delighted with the prospect of its at last becoming a part of his published works. My Argument with the Gestapo tells of the adventures of a young man, clearly identified by the name Thomas Merton, who travels from America to Europe to report on the war with Germany from the viewpoint of a poet. He hates the war, yet is driven to come to terms with it. There is a pervading sense of dreamworld or hallucination, heightened by the device of passages written in a macaronic language, invented from multilingual roots, to satirize and parody political propaganda speeches dealing with the war. A work of imagination (Merton did not in fact return to England after the start of World War II in Europe), it nevertheless contains much that is autobiographical and revealing of the young Merton. Most clearly visible are the seeds of his never-forsaken concern with peace and nonviolence and his abhorrence of war. Indeed, his outspoken criticism of Britain at a time when all the emphasis was on 'the brave little island standing alone' foreshadows his devotion to truth as he saw it, no matter what the cost. And students of Merton will find scenes in the book that are straight autobiography, amplifying and perhaps filling in gaps in what later was to be the beginning of Merton's great literary success, The Seven Storey Mountain (1948).

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

Speaking of his own work, Robert Duncan (1919-1987) said: "I make poetry as other men make war or make love or make states or revolutions: to exercise my faculties at large." The Opening of the Field, his first major collection, was originally brought out in 1960; in it, Duncan introduced his "Structures of Rime," the open series he continued in his subsequent collections, Roots and Branches (1964) and Bending the Bow (1968), Ground Work: Before the War (1983), and Ground Work II: In the Dark (1987). "Structures of Rime" affirms his belief in the universal integrity of the poem itself in the living process of language. Thus in "The Structure of Rime I" he declares: "O Lasting Sentence, / sentence after sentence I make in your image. In the feet that measure the dance of my pages I hear cosmic intoxications of the man I will be."

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

The contents, lively and varied as always, of this year's New Directions Annual, the twenty-second in the series which began in 1936, range from the topical, in an impressive new poem by Ferlinghetti on The Enigma of Ho Chi Minh's Funeral, to one of the important source texts of the modern literary movement, a translation by David Harris of Gottfried Benn's "play of ideas," The Voice behind the Curtain. Once again, the Annual is international: Stephen Stepanchev has translated a group of poems by the Yugoslavian poet Vasko Popa; Samuel Grolmes and Yumiko Tsumura present the Japanese poet Ryuichi Tamura; Dennis Silk (Israel) blends parody and fantasy in the prose "journey," Montefiore; there is a scene from the play Sunday They'll Make Me a Saint by the Greek-American writer Demetrius Toteras; and from Britain we have Stuart Montgomery's verse sequence, Circe, a section of photographs of the concrete poetry of Ian Hamilton Finlay (Scotland) and a group of drawings by the poet Charles Tomlinson. Three of the young American poets in ND22 are active in the Black movement: Ed Roberson, Quincy Troupe and Al Young. Richard Meyers is a promising discovery, and we welcome Robert Lowry again with a fine poem. Of exceptional interest this year are the stories of Paul Breslow, Carol Emshwiller, Paul Friedman, James B. Hall and Mark Jay Mirsky.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

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

Many Loves, which ran for nearly a year (1959) in repertory at New York's famous Living Theatre, explores four varieties of human attachment, while A Dream of Love, first produced in 1949, is a penetrating and poetic treatment of infidelity and marriage. Tituba's Children, written three years before Arthur Miller's Crucible, is a dramatic study of witch-hunting - the Salem trials of 1692 and McCarthyism in the 1950's. The First President was first published in 1936. It is preceded by a long introduction on the theory of opera, the role of music, and the problems of realizing a historic figure on the stage. The Cure (1960) reminds us that Dr. Williams was for forty-two years a practicing physician. Its theme, developed in a very unusual situation, is the relationship between nurse and patient.

This anthology is Ezra Pound's own choice of the poetry of various ages and cultures-ranging from his translations of the Confucian Odes up to E. E. Cummings-which he considered the finest of its type. It is a statement by example of the "Pound critical canon" and, as such, a short course in the history of world poetry, useful alike for the student and the general reader. Nearly a hundred poets are represented, a number of them in Pound's own translations, with emphasis on the Greek and Latin, Chinese, Troubadour, Renaissance, and Elizabethan. Of particular interest are the notes on certain of the poems and poets which Pound supplied in comment on his selections.

The late Kenneth Patchen was unique among contemporary poets for his direct and passionate concern with the most essential elements in the tragic, comic, blundering and at rare moments glorious world around us. He wrote about the things we can feel; with our whole being-the senselessness of war, the need for love among men on earth, the presence of God in man, the love for a beloved woman, social injustice and the continual resurgence of the beautiful in life.

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

Acclaiming the late Eugenio Montale (1897-1981) as "one of the most important poets of the contemporary West," the Swedish Academy awarded him the 1975 Nobel Prize for Literature. This selection, introduced by Glauco Cambon, presents sixty-nine poems chosen from Montale's first three books--Ossi di seppia (Cuttlefish Bones), Le occasioni (The Occasions), and La bufera e altro (The Storm and Other Things)--as rendered by sixteen translators, many of them distinguished poets in their own right.

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

The Beetle Leg, John Hawkes's second full-length novel, was first published by New Directions in 1951. After years of underground existence, this brilliant novel is emerging as a classic of visionary writing and still remains Hawkes's only work devoted solely to American life. As a 'surrealist Western" (Newsweek), and a violent and poetic portrayal of "a landscape of sexual apathy" (Albert J. Guerard), The Beetle Leg is a rich flight into the special vein of comedy that Hawkes had begun to exploit a decade before the popular acceptance of "black humor."

Throughout his life Flaubert made it a game to eavesdrop for the cliché, the platitude, the borrowed and unquestioned idea with which the "right thinking" swaddle their minds. After his death his little treasury of absurdities, of half-truths and social lies, was published as a Dictionnaire des idées reçues. Because its devastating humor and irony are often dependent on the phrasing in vernacular French, the Dictionnairewas long considered untranslatable. This notion was taken as a challenge by Jacques Barzun. Determined to find the exact English equivalent for each "accepted idea" Flaubert recorded, he has succeeded in documenting our own inanities. With a satirist's wit and a scholar's precision, Barzun has produced a very contemporary self-portrait of the middle-class philistine, a species as much alive today as when Flaubert railed against him.

From the wager between God and Mephistopheles and the pact Faust makes with the latter-that this genial, urbane devil could have his soul if ever Faust became satisfied with any experience or knowledge Mephistopheles could show him-the drama unfolds in scenes that are human and compelling, that hold the reader by their despair and ecstasy, their tender love, passionate desire and wisdom, but also by their gaiety, humor, and irony. As Faust proceeds with his devilish guide, it is his striving for understanding that becomes important, not the attainment, and in fact this is what saves him in the end.Part I of Faust, which Goethe published twenty-four years before its sequel, deals with Faust's journey through the everyday world and his love for Gretchen. It is made especially memorable in this translation, which Victor Lange, Chairman of the Department of German at Princeton, has called "certainly the most usable and most appealing Faust translation in English. It is modern without losing the dignity of the original and is perhaps the only translation that conveys something of the freshness and poetic vitality of Goethe's own speech."

The poet has said of himself and his work: "I am not an experimentalist or an inventor, but a derivative poet, drawing my art from the resources given by a generation of masters--Stein, Williams, Pound; back of that by the generations of poets that have likewise been dreamers of the Cosmos as Creation and Man as Creative Spirit; and by the work of contemporaries: Zukofsky, Olson, Creeley and Denise Levertov."

There are a number of English translations of The Dhammapada, but this version by Irving Babbitt, for many years professor at Harvard and founder, with Paul Elmer More, of the movement known as "New Humanism," concentrates on the profound poetic quality of the verses and conveys, perhaps more than any other, much of the vitality of the original Pali text. Babbitt devoted many years to this translation--it was a labor of love. Together with his essay on "Buddha and the Occident," which is also included in this edition, The Dhammapada was one of the basic components of his view of world history, a view which has influenced leaders of thought as diverse as Newton Arvin, Walter Lippmann, David Riesman and T. S. Eliot. Eliot, indeed, once wrote that "to have been a student of Babbitt's is to remain always in that position."

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

A reissue of Ferlinghetti's very short experimental plays (1965) with three new plays added to the original thirteen. In this collection Ferlinghetti takes a revolutionary look at modern theater and explores the area between old-style drama and spontaneous improvisation by supplying a blueprint for dramatic actionan outline from which director and actors may create and interpret freely. In one called '"Our Little Trip" two men in conservative suits wind themselves in and out of a long bandage while a questioner circles them seeking Meaning. "Servants of the People" puts on political podium hogs in torrents of cliches. "Bearded Lady 'Dies'" features the Second Coming all decked out for newspaper coverage.

Written by H. D. in 1930 and only published in a 100-copy edition for friends in 1934, Kora and Ka marked a new level of intensity in the poet's experiments with prose fiction. The two long stories contained in this volume, Kora and Ka and Mira-Mare, are at once profoundly autobiographical yet, through H. D.'s unusual brand of modernist story-telling, pushed beyond personality. The men and women who haunt these tales are wraiths in spiritual exile, wanderers in a Europe still recovering from the devastations of World War I. Her descriptions of the beaches at Monte Carlo are triumphs of vivid detail - bright watercolors set against brooding psychological portraits. In its exploration of the broken dualities of self and civilization, Kora and Ka looks forward to H. D.'s masterpieces, Tribute to Freud and Trilogy.

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