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Anne Carson writes, "Euripides was a playwright of the fifth century BC who reinvented Greek tragedy, setting it on a path that leads straight to reality TV. His plays broke all the rules, upended convention and outraged conservative critics. The Bakkhai is his most subversive play, telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration. Dionysos is the god of intoxication. Once you fall under his influence, there is no telling where you will end up."

Concluding-set in a single summer day-has at its heart old Mr. Rock, a famous retired scientist: he lives in a cottage on the grounds of a girl's boarding school. Living with him is Elizabeth, his somewhat unstrung granddaughter; his white cat; his white goose; and Daisy, his white pig. Miss Edge and Miss Baker-the two inseparable spinster harpies who run the school-scheme to dislodge him from the cottage. Concluding opens with the discovery that two of the schoolgirls have vanished in the night: searching, eavesdropping, worrying, jostling, and giggling all ensue. A love affair, a dance, that magnificent pig, small joys, and low ambitions all stream together, crowding up to the reader's eye, as Henry Green brews up an enchanting, heartbreaking, and darkly sunny novel.

Published in 1917 by The Four Seas Press, Al Que Quiere! was William Carlos Williams's breakthrough book and contains some of his best-loved poems ("Tract," "Apology," "El Hombre," "Danse Russe," "January Morning," and "Smell!"), as well as a Whitmanesque concluding long poem, "The Wanderer," that anticipates his epic masterpiece Paterson. Al Que Quiere! is the culmination of an experimental period for Williams that included his translations from Spanish. The Spanish epigraph of Al Que Quiere! is from the short story "El hombre que parecía un caballo" ("The Man Who Resembled a Horse"), by the Guatemalan author Rafael Arévalo Martínez. This centennial edition contains Williams's translation of the story, as well as his commentary from a book of conversations, I Wanted to Write a Poem, on the individual poems of Al Que Quiere!

Go, Went, Gone is the masterful new novel by the acclaimed German writer Jenny Erpenbeck, "one of the most significant German-language novelists of her generation" (The Millions). The novel tells the tale of Richard, a retired classics professor who lives in Berlin. His wife has died, and he lives a routine existence until one day he spies some African refugees staging a hunger strike in Alexanderplatz. Curiosity turns to compassion and an inner transformation, as he visits their shelter, interviews them, and becomes embroiled in their harrowing fates. Go, Went, Gone is a scathing indictment of Western policy toward the European refugee crisis, but also a touching portrait of a man who finds he has more in common with the Africans than he realizes. Exquisitely translated by Susan Bernofsky, Go, Went, Gone addresses one of the most pivotal issues of our time, facing it head-on in a voice that is both nostalgic and frightening.

A new volume of the singular, ongoing, great American jazz novel

In this selection of stories and essays, Henry Miller elucidates, revels, and soars, showing his command over a wide range of moods, styles, and subject matters. Writing "from the heart," always with a refreshing lack of reticence, Miller involves the reader directly in his thoughts and feelings. "His real aim," Karl Shapiro has written, "is to find the living core of our world whenever it survives and in whatever manifestation, in art, in literature, in human behavior itself. It is then that he sings, praises, and shouts at the top of his lungs with the uncontainable hilarity he is famous for." Here are some of Henry Miller's best-known writings: an essay on the photographer Brassai; "Reflections on Writing," in which Miller examines his own position as a writer; "Seraphita" and "Balzac and His Double," on the works of other writers; and "The Alcoholic Veteran," "Creative Death," "The Enormous Womb," and "The Philosopher Who Philosophizes."

A new expanded edition of the classic study of translation, finally back in print

A new collection from "one of the world's great essayists" (The New York Times)

In the beginning there was one language-one tongue that Adam used to compose the first poem, an elegy for Abel. "These days, no one bothers to ask about the tongue of Adam. It is a naive question, vaguely embarrassing and irksome, like questions posed by children, which one can only answer rather stupidly." So begins Abdelfattah Kilito's The Tongue of Adam, a delightful series of lectures. With a Borgesian flair for riddles, stories, and subtle scholarly distinctions, Kilito presents an assortment of discussions related to Adam's tongue, including translation, comparative religion, and lexicography: for example, how, from Babel onward, can we explain the plurality of language? Or can Adam's poetry be judged aesthetically, the same as any other poem? Drawing from the commentators of the Koran to Walter Benjamin, from the esoteric speculations of Judaism to Herodotus, The Tongue of Adam is a nimble book about the mysterious rise of humankind's multilingualism.

José Maria Eça de Queirós, the first great modern Portuguese novelist, wrote The Yellow Sofa with (in his own words) "no digressions, no rhetoric," creating a book where "everything is interesting and dramatic and quickly narrated." The story, a terse and seamless spoof of Victorian bourgeois morals, concerns a successful businessman who returns home to find his wife "on the yellow damask sofa, leaning in abandon on the shoulder of a man." The man is none other than his best friend and business partner. While struggling with the need to defend his honor, he fights a stronger inner desire for domestic tranquility and forgiveness. The Yellow Sofa firmly establishes Eça de Queirós in the literary pantheon that includes Dickens, Flaubert, Balzac, and Tolstoy.

A lively and utterly singular travelogue of the intricate curiosities that are directly within one's own reach

Michael Palmer's new book-a collection in two parts, "The Laughter of the Sphinx" and "Still (a cantata-or nada-for Sister Satan)"-contains 52 poems.The title poem begins "The laughter of the Sphinx / caused my eyes to bleed" and haunts us with the ruin we are making of our world, even as Palmer revels in its incredible beauty. Such central tensions in The Laughter of the Sphinx-between beauty and loss, love and death, motion and rest, knowledge and ignorance-glow in Palmer's lyrical play of light and entirely hypnotize the reader. The stakes, as always with Palmer, are very high, essentially life and death: "Please favor us with a reply / regarding our one-time offer / which will soon expire."

An expatriate professor, Vega, returns from exile in Canada to El Salvador for his mother's funeral. A sensitive idealist and an aggrieved motor mouth, he sits at a bar with the author, Castellanos Moya, from five to seven in the evening, telling his tale and ranting against everything his country has to offer. Written in a single paragraph and alive with a fury as astringent as the wrath of Thomas Bernhard, Revulsion was first published in 1997 and earned its author death threats. Roberto Bolano called Revulsion Castellanos Moya's darkest book and perhaps his best: "A parody of certain works by Bernhard and the kind of book that makes you laugh out loud."

With easy, sunny eeriness, Spark lights up the darkest things: blackmail, a drowning, nervous breakdowns, a ring of smugglers, a loathsome busybody, a diabolic bookseller, human evil.

Layers of intrigue; triangulating love affairs; murders; international spy-craft; adultery; parental interference; the sweet careless rapture of youth; unmarked graves - Territorial Rights claims much ground and Muriel Spark enjoys a wicked dance on it.

Inside an apartment building on the outskirts of Milan, the working-class residents gossip, quarrel, and conspire against each other. Viewed through the eyes of Chino, an impressionable thirteen-year-old boy whose mother is the doorwoman of the building, the world contained within these walls is tiny, hypocritical, and mean-spirited: a constant struggle. Chino finds escape in reading.One day, a new resident, Amelia Lynd, moves in and quickly becomes an unlikely companion and a formative influence on Chino. Ms. Lynd-an elderly, erudite British woman-comes to nurture his taste in literature, introduces him to the life of the mind, and offers a counterpoint to the only version of reality that he's known. On one level, Lost Words is an engrossing coming-of-age tale set in the seventies, when Italy was going through tumultuous social changes, and on another, it is a powerful meditation on language, literature, and culture.

Sensual and glimmering, Lorenzo Chiera's elliptical fragments evoke nights of bawdy excess in Trastevere ("City made of Roman ruins . . . / what a whorehouse!"), translated here by one of the most renowned poets of our time.In his preface, Lawrence Ferlinghetti describes the experience of reading Chiera for the first time: "We soon realize we are in the presence of a savage erotic consciousness, as if the lust-driven senses were suddenly awakened out of a hoary sleep of a thousand years, a youth shaken awake by a rude medieval hand, senses still reeling, drunk in the hold of some slave ship, not knowing night from day nor sight from sound, the eye and the ear and the nose confounding each other, not yet knowing which function each was to take up in the quivering dawn."

In this classic, groundbreaking exploration of early American literature, Susan Howe reads our intellectual inheritance as a series of civil wars, where each text is a wilderness in which a strange lawless author confronts interpreters and editors eager for settlement. Howe approaches Anne Hutchinson, Mary Rowlandson, Cotton Mather, Hawthorne, Emerson, Melville and Emily Dickinson as a fellow writer-her insights, fierce and original, are rooted in her seminal textural scholarship in examination of their editorial histories of landmark works. In the process, Howe uproots settled institutionalized roles of men and women as well as of poetry and prose-and of poetry and prose. The Birth-mark, first published in 1993, now joins the New Directions canon of a dozen Susan Howe titles.

The epic novel Beauty Is a Wound combines history, satire, family tragedy, legend, humor, and romance in a sweeping polyphony. The beautiful Indo prostitute Dewi Ayu and her four daughters are beset by incest, murder, bestiality, rape, insanity, monstrosity, and the often vengeful undead. Kurniawan's gleefully grotesque hyperbole functions as a scathing critique of his young nation's troubled past:the rapacious offhand greed of colonialism; the chaotic struggle for independence; the 1965 mass murders of perhaps a million "Communists," followed by three decades of Suharto's despotic rule.     Beauty Is a Wound astonishes from its opening line: One afternoon on a weekend in May, Dewi Ayu rose from her grave after being dead for twenty-one years....  Drawing on local sources-folk tales and the all-night shadow puppet plays, with their bawdy wit and epic scope-and inspired by Melville and Gogol, Kurniawan's distinctive voice brings something luscious yet astringent to contemporary literature.

A powerful selection of Susan Howe's previously uncollected essays, The Quarry moves backward chronologically, from her brand-new "Vagrancy in the Park" (about Wallace Stevens) through such essential texts as "The Disappearance Approach," "Personal Narrative," "Sorting Facts," "Frame Structures," and "Where Should the Commander Be," and ending with her seminal early criticism, "The End of Art." The essays of The Quarry map the intellectual territory of one of America's most important and vital avant-garde poets.

The King, young Shah Naser, takes to the throne of Persia at a turning point of history: he inherits an enchanted medieval world of harems, eunuchs, and treasures as well as a palace of secret doors, sudden deaths, and hidden agendas. Within the court is danger enough: outside all manner of change threatens-industrialization, colonization.  Russia and England conspire to open the King's empire; his mother and his vizier take opposing sides. The poor King-almost an exact contemporary of Queen Victoria-is trapped.  He likes some aspects of modernity (electricity, photography) but can't embrace democracy. He must be a sovereign: he must keep his throne. The King cannot face change and he cannot escape it.With this gleaming and seemingly simple story, breathlessly paced and beautifully told, Kader Abdolah, the acclaimed Iranian émigré novelist, speaks of deeper truths. A novel which has many timely things to say about eras of change and upheaval, The King is an unforgettable book.

"Now I am a mother and a married woman, but not long ago I led a life of crime": so Bianca begins her tale of growing up the hard way in Rome in A Little Lumpen Novelita.Orphaned overnight as a teenager-"our parents died in a car crash on their first vacation without us"-she drops out of school and gets a crappy job. At night, she is plagued by a terrible brightness, and soon she drifts into bad company. Her little brother brings home two petty criminals who need a place to stay. As the four of them share the family apartment and plot a strange crime, Bianca learns she can fall even lower...Electric and tense with foreboding, with its jagged, propulsive short chapters beautifully translated by Natasha Wimmer, A Little Lumpen Novelita-one of the last novels Roberto Bolano published-delivers a surprising, fractured fairy tale of taking control of one's fate.

The incomparable Joseph Roth imagines Emperor Napoleon's last grab at glory, the hundred days spanning his escape from Elba to his final defeat at Waterloo. This particularly poignant work, set in the first half of 1815 and largely in Paris, is told from two perspectives, that of Napoleon himself and that of the lowly, devoted palace laundress Angelica-an unlucky creature who deeply loves him. In The Hundred Days, Roth refracts the deep sorrow of their intertwined fates.Roth's signature lyrical elegance and haunting atmospheric details sing in The Hundred Days. "There may be," as James Wood has stated, "no modern writer more able to combine the novelistic and the poetic, to blend lusty, undamaged realism with sparkling powers of metaphor and simile."

The End of Days, by acclaimed German writer Jenny Erpenbeck, consists essentially of five "books," each leading to a different death of an unnamed woman protagonist. How could it all have gone differently? the narrator asks in the intermezzos between. The first chapter begins with the death of a baby in the early twentieth-century Hapsburg Empire. In the next chapter, the same girl grows up in Vienna, but her strange relationship with a boy leads to another death. In the next scenario, she survives  adolescence and moves to Russia with her husband. Both are dedicated Communists, but our heroine is sent to a labor camp. She is spared in the next chapter with the help of someone's intervention and returns to Berlin to become a respected writer. . . . The End of Days is a brilliant novel of contingency and fate. A novel of incredible breadth, yet amazing concision, The End of Days offers a unique overview of German and German-Jewish history by "one of the finest, most exciting authors alive" (Michael Faber).

Published in his centenary year, The Collected Poems of James Laughlin encompasses in one majestic volume all of the poetry (with the exception of his verse memoirs, Byways) written by the publisher-poet. Witty, technically brilliant, slyly satiric and heartbreakingly poignant about the vagaries of love, Laughlin charted his own poetic course for over six decades prompting astonishment and joy in those fellow poets who had discovered his unique genius. As Charles Simic enthused, "The secret is out, the publisher of Williams and Pound is himself a great lyric poet."Compiled and edited by Peter Glassgold, Laughlin's chosen poetry editor for the last two decades, The Collected Poems of James Laughlin includes more than 1250 poems from the early lyrics written in Laughlin's signature "typewriter" metric, to the "long-line" poems of his later years, to the playful antics of his dopplegänger Hiram Handspring, to the trenchant commentary of the five-line pentastichs that occupied his last days. Despite all the awards and accolades that James Laughlin received for his publishing achievements and service to literature, the honor that pleased him most was his election to the American Academy of Arts and Letters (1996)-as a poet.

An explorer's whereabouts keeps a queen in waiting; a faith healer's illegal radio broadcasts give hope to an oppressed people; a president's offer of ice cream surprises a prostitute expecting to cooperate fully - the three short fictions gathered in The Great Exception build into a vision of Cuba that is black-humored, brutal, and beautiful. Written prior to the publication of Rachel Kushner's first acclaimed novel Telex From Cuba, these stories, like Roberto Bolano's Antwerp, burst forth with the genesis of her fictional universe as though fired from a cannon. From the mythical title story, to the ominous "Debouchment" - originally published in her too short-lived journal Soft Targets - to the sexy and noirish "Strange Case of Rachel K," this is Kushner saddling up for a journey into the wilds of the modern novel.