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An NYRB Classics Original First published in 1956, Zama is now universally recognized as one of the masterpieces of modern Argentine and Spanish-language literature.   Written in a style that is both precise and sumptuous, weirdly archaic and powerfully novel, Zama takes place in the last decade of the eighteenth century and describes the solitary, suspended existence of Don Diego de Zama, a highly placed servant of the Spanish crown who has been posted to Asunción, the capital of remote Paraguay. There, eaten up by pride, lust, petty grudges, and paranoid fantasies, he does as little as he possibly can while plotting his eventual transfer to Buenos Aires, where everything about his hopeless existence will, he is confident, be miraculously transformed and made good.   Don Diego’s slow, nightmarish slide into the abyss is not just a tale of one man’s perdition but an exploration of existential, and very American, loneliness. Zama, with its stark dreamlike prose and spare imagery, is at once dense and unforeseen, terse and fateful, marked throughout by a haunting movement between sentences, paragraphs, and sections, so that every word seems to emerge from an ocean of things left unsaid. The philosophical depths of this great book spring directly from its dazzling prose.

An NYRB Classics OriginalWhen the pioneering Taiwanese novelist Qiu Miaojin committed suicide in 1995 at age twenty-six, she left behind her unpublished masterpiece, Last Words from Montmartre. Unfolding through a series of letters written by an unnamed narrator, Last Words tells the story of a passionate relationship between two young women-their sexual awakening, their gradual breakup, and the devastating aftermath of their broken love. In a style that veers between extremes, from self-deprecation to pathos, compulsive repetition to rhapsodic musings, reticence to vulnerability, Qiu's genre-bending novel is at once a psychological thriller, a sublime romance, and the author's own suicide note.The letters (which, Qiu tells us, can be read in any order) leap between Paris, Taipei, and Tokyo. They display wrenching insights into what it means to live between cultures, languages, and genders-until the genderless character Zoë appears, and the narrator's spiritual and physical identity is transformed. As powerfully raw and transcendent as Mishima's Confessions of a Mask, Goethe's The Sorrows of Young Werther, and Theresa Cha's Dictée, to name but a few, Last Words from Montmartre proves Qiu Miaojin to be one of the finest experimentalists and modernist Chinese-language writers of our generation.

Céleste Albaret was Marcel Proust''s housekeeper in his last years, when he retreated from the world to devote himself to In Search of Lost Time. She could imitate his voice to perfection, and Proust himself said to her, "You know everything about me." Her reminiscences of her employer present an intimate picture of the daily life of a great writer who was also a deeply peculiar man, while Madame Albaret herself proves to be a shrewd and engaging companion.

Jean-Paul Sartre was a man of staggering gifts, whose accomplishments as philosopher, novelist, playwright, biographer, and activist still command attention and inspire debate. Sartre’s restless intelligence may have found its most characteristic outlet in the open-ended form of the essay. For Sartre the essay was an essentially dramatic form, the record of an encounter, the framing of a choice. Whether writing about literature, art, politics, or his own life, he seizes our attention and drives us to grapple with the living issues that are at stake.We Have Only This Life to Live is the first gathering of Sartre’s essays in English to draw on all ten volumes of Situations, the title under which Sartre collected his essays during his life, while also featuring previously uncollected work, including the reports Sartre filed during his 1945 trip to America. Here Sartre writes about Faulkner, Bataille, Giacometti, Fanon, the liberation of France, torture in Algeria, existentialism and Marxism, friends lost and found, and much else. We Have Only This Life to Live provides an indispensable, panoramic view of the world of Jean-Paul Sartre.

A New York Review Books Original Victor Serge is one of the great men of the 20th century -and one of its great writers too. He was an anarchist, an agitator, a revolutionary, an exile, a historian of his times, as well as a brilliant novelist, and in Memoirs of a Revolutionary he devotes all his passion and genius to describing this extraordinary-and exemplary-career. Serge tells of his upbringing among exiles and conspirators, of his involvement with the notorious Bonnot Gang and his years in prison, of his role in the Russian Revolution, and of the Revolution's collapse into despotism and terror. Expelled from the Soviet Union, Serge went to Paris, where he evaded the KGB and the Nazis before fleeing to Mexico. Memoirs of a Revolutionary recounts a thrilling life on the front lines of history and includes vivid portraits not only of Trotsky, Lenin, and Stalin but of countless other figures who struggled to remake the world. Peter Sedgwick's fine translation of Memoirs of a Revolutionary was abridged when first published in 1963. This is the first edition in English to present the entirety of Serge's book.

Set deep in the Appalachian wilderness between the years of 1779 and 1784, The Land Breakers is a saga like the Norse sagas or the book of Genesis, a story of first and last things, of the violence of birth and death, of inescapable sacrifice and the faltering emergence of community. Mooney and Imy Wright, twenty-one, former indentured servants, long habituated to backbreaking work but not long married, are traveling west. They arrive in a no-account settlement in North Carolina and, on impulse, part with all their savings to acquire a patch of land high in the mountains. With a little livestock and a handful of crude tools, they enter the mountain world-one of transcendent beauty and cruel necessity-and begin to make a world of their own.Mooney and Imy are the first to confront an unsettled country that is sometimes paradise and sometimes hell. They will soon be followed by others. John Ehle is a master of the American language. He has an ear for dialogue and an eye for nature and a grasp of character that have established The Land Breakers as one of the great fictional reckonings with the making of America.

A hardboiled novel about life in the American underground, from the pool halls of Portland to the cells of San Quentin. Simply one of the finest books ever written about being down on your luck. Don Carpenter's Hard Rain Falling is a tough-as-nails account of being down and out, but never down for good-a Dostoyevskian tale of crime, punishment, and the pursuit of an ever-elusive redemption. The novel follows the adventures of Jack Levitt, an orphaned teenager living off his wits in the fleabag hotels and seedy pool halls of Portland, Oregon. Jack befriends Billy Lancing, a young black runaway and pool hustler extraordinaire. A heist gone wrong gets Jack sent to reform school, from which he emerges embittered by abuse and solitary confinement. In the meantime Billy has joined the middle class-married, fathered a son, acquired a business and a mistress. But neither Jack nor Billy can escape their troubled pasts, and they will meet again in San Quentin before their strange double drama comes to a violent and revelatory end.

Now in paperback.Euripides, the last of the three great tragedians of ancient Athens, reached the height of his renown during the disastrous Peloponnesian War, when democratic Athens was brought down by its own outsized ambitions. “Euripides,” the classicist Bernard Knox has written, “was born never to live in peace with himself and to prevent the rest of mankind from doing so.” His plays were shockers: he unmasked heroes, revealing them as foolish and savage, and he wrote about the powerless–women and children, slaves and barbarians–for whom tragedy was not so much exceptional as unending. Euripides’ plays rarely won first prize in the great democratic competitions of ancient Athens, but their combustible mixture of realism and extremism fascinated audiences throughout the Greek world. In the last days of the Peloponnesian War, Athenian prisoners held captive in far-off Sicily were said to have won their freedom by reciting snatches of Euripides’ latest tragedies.Four of those tragedies are presented here in new translations by the contemporary poet and classicist Anne Carson. They are Herakles, in which the hero swaggers home to destroy his own family; Hekabe, set after the Trojan War, in which Hektor’s widow takes vengeance on her Greek captors; Hippolytos, about love and the horror of love; and the strange tragic-comedy fable Alkestis, which tells of a husband who arranges for his wife to die in his place. The volume also contains brief introductions by Carson to each of the plays along with two remarkable framing essays: “Tragedy: A Curious Art Form” and “Why I Wrote Two Plays About Phaidra.”

First time in PaperbackThe Family Mashber is a protean work: a tale of a divided family and divided souls, a panoramic picture of an Eastern European town, a social satire, a kabbalistic allegory, an innovative fusion of modernist art and traditional storytelling, a tale of weird humor and mounting tragic power, embellished with a host of uncanny and fantastical figures drawn from daily life and the depths of the unconscious. Above all, the book is an account of a world in crisis (in Hebrew, mashber means crisis), torn between the competing claims of family, community, business, politics, the individual conscience, and an elusive God. At the center of the book are three brothers: the businessman Moshe, at the height of his fortunes as the story begins, but whose luck takes a permanent turn for the worse; the religious seeker Luzi, who, for all his otherworldliness, finds himself ever more caught up in worldly affairs; and the idiot-savant Alter, whose reclusive existence is tortured by fear and sexual desire. The novel is also haunted by the enigmatic figure of Sruli Gol, a drunk, a profaner of sacred things, an outcast, who nonetheless finds his way through every door and may well hold the key to the brothers’ destinies.

German scientist and man of letters Georg Christoph Lichtenberg was an 18th-century polymath: an experimental physicist, an astronomer, a mathematician, a practicing critic both of art and literature. He is most celebrated, however, for the casual notes and aphorisms that he collected in what he called his Waste Books. With unflagging intelligence and encyclopedic curiosity, Lichtenberg wittily deflates the pretensions of learning and society, examines a range of philosophical questions, and tracks his own thoughts down hidden pathways to disconcerting and sometimes hilarious conclusions.Lichtenberg's Waste Books have been greatly admired by writers as very different as Tolstoy, Einstein, and Andre Breton, while Nietzsche and Wittgenstein acknowledged them as a significant inspiration for their own radical work in philosophy. The record of a brilliant and subtle mind in action, The Waste Books are above all a powerful testament to the necessity, and pleasure, of unfettered thought.

A collection of Norse myths describing the exploits of the Aesir gods and goddesses, beginning with the creation of the world and ending with the day of reckoning.

"Each chapter in this remarkable consideration of American culture evokes an actual meeting between two historical figures. In 1854, as a boy, Henry James has his daguerreotype made by Mathew Brady. We encounter Brady again as he photographs Walt Whitman and then Ulysses Grant. Meanwhile, Henry James begins a lasting friendship with William Dean Howells, and also meets Sarah Orne Jewett, who in turn is a mentor to Willa Cather... Cohen brilliantly reanimates these unforgettable pairings and those of Edward Steichen and Alfred Stieglitz; Carl Van Vechten and Gertrude Stein; Hart Crane and Charlie Chaplin; Langston Hughes and Zora Neale Hurston; Elizabeth Bishop and Marianne Moore; Richard Avedon and James Baldwin; and John Cage and Marcel Duchamp; Norman Mailer and Robert Lowell. Ultimately, Cohen reveals and long chain of friendship, rebellion and influence stretching from the moment before the Civil War through a century that had a profound effect on our own time. A Chance Meeting is an intimate and original act of biography and cultural history that makes its own contribution to the tradition about which Cohen writes."--

"In the biographical note accompanying one of her books, Cristina Campo said of herself: "She has written little and would like to have written less". That little is almost all collected in this book and will impose an observation on every perceptive reader: these pages belong to the most beautiful Italian prose has been shown in the last fifty years. Cristina Campo was unforgivable, in the sense that the word has in the essay that gives the title to this book: like Marianne Moore, like Hofmannsthal, like Benn, like Weil, she had the "passion for perfection". She could not otherwise have written the pages that are read here on Chopin or on the fairy tale, on the Arabian Nights or about language. "I salute a wisdom among the strangest today" Ceronetti once wrote from Campo. Perhaps the time has come for readers to realize that in Italy, among so many promoters of their own mediocrity, this "trappist of perfection" also lived"--

A moving graphic memoir about home, childhood, and family by the author of Storeyville and Pompeii. Pittsburgh is the story of a family, and a city. Frank Santoro faces a straightforward yet heart-rending reality: His parents, once high-school sweethearts, now never speak to each other—despite working in the same building. Stuck in the middle, he tries to understand. The result is this book. Using markers, pencils, scissors, and tape, with a variety of papers, drawing in vivid colors and exuberant lines, Santoro constructs a multi-generational retelling of their lives. Framed by his parents’ courtship and marriage, and set amid the vital but fading neighborhood streets, the pages of Pittsburgh are filled with details both quotidian and dramatic—from his childhood mishaps to his father’s trauma in Vietnam—interspersed throughout with the mute witness of the family dog, Pretzel. Santoro, the acclaimed author of Storeyville and Pompeii, has created his masterpiece. Pittsburgh is an extraordinary reimagining of the comics form to depict the processes of memory, and a powerful, searching account of a family taking shape, falling apart, and struggling to reinvent itself, as the city around them does the same.

A widowed writer begins to work on a biography of a novelist and artist—and soon uncovers bizarre parallels between her life and her subject’s—in this chilling and singularly strange novella by a contemporary master of horror and fantasy.The narrator of Lisa Tuttle’s uncanny novella is a recent widow, a writer adrift. Not only has she lost her husband but her muse seems to have deserted her altogether. Her agent summons her to Edinburgh to discuss her next book. What will she tell him? At once the answer comes to her: she will write the biography of Helen Ralston, best known, if at all, as the subject of W.E. Logan’s much-reproduced painting Circe, and the inspiration for his classic children’s book, Hermine in Cloud-Land.But Ralston was a novelist and artist in her own right, though her writing is no longer in print and her most radical painting, My Death, deemed too unsettling—malevolent even—to be shown in public. Over the months that follow, Ralston proves an astonishingly cooperative subject, even as her biographer uncovers eerie resonances between the older woman’s history and her own. Whose biography is she writing—really?

The first-ever collection of comics by Ed Subitzky—comedy writer, National Lampoon legend, Atari spokesperson, “The Impostor” on The David Letterman Show, and an enduring influence on an entire generation of cartoonists and humorists.For the entire run of National Lampoon, Ed Subitzky bent, broke, and reimagined what a cartoon could do: A cartoon that hypnotizes you. A cartoon that goes to prison. A cartoon that folds up and flies away. Framed by an interview with Mark Newgarden, this first-ever collection of Subitzky’s work is a portrait of one of the funniest, most prolific humorists of the ’70s and ’80s.

"Amelia Rosselli is one of the great poets of postwar Italy, and recognized as such throughout Europe. She was also a musician and musicologist, close to John Cage and Karlheinz Stockhausen, and she waged a lifelong battle against depression. The child of Carlo Rosselli, a major figure in the resistance to Mussolini who was assassinated with his brother Nello in 1937, Rosselli grew up in exile and went to high school in Scarsdale, making her fluent in English. English poetry, especially the lyrics and sonnets of Shakespeare and the Elizabethans, became a prime reference for her own poetry, which mingles formal experimentation with memories of traditional forms to evoke the struggles of an embattled conscience. Rosselli's English poems, some of which were published by John Ashbery in the 1960s, are a major part of her body of work and are invariably included in Italian editions of her collected works.Sleep, the title under which Rosselli herself gathered these poems, is the first publication of her haunting and utterly original English oeuvre by an English publisher"--

"A compelling record of one year in the life of a writer, including observations about movies, art, music, friendship, travel, and family. The essay is the most pluckily pedestrian and blithely transgressive of literary genres, the one that is most at large and in need, picking through the accumulated disjecta of daily life and personal and social history to take what it needs and remake it as it sees fit. It is, at its lively best, quite indifferent to the claims of style, fashion, theory, and respectability, provoking and inspiring through the pleasure of surprise. In 2016, Philip Lopate, who has been writing essays and thinking about the essay for decades now, turned his attention to one of the essay's offshoots, the blog, a form by that time already thick, as he knew, with virtual dust. Lopate committed to writing a weekly blog about, really, whatever over the course of a year, a quicker pace of delivery than he'd ever undertaken and one that carried the risk of all too regularly falling short. What emerged was A Year and a Day, a collection of forty-seven essays best characterized as a single essay a year in the making, a virtuosic (if never showy) demonstration of the essay's range and reach, meandering, looping back, pressing reset, forging on. Lopate's topics along the way include family, James Baldwin, a trip to China, Agnes Martin, Abbas Kiarastomi, the resistable rise of Donald Trump, death, desire, and the tribulations, small and large, of daily life. What results is at once a self-portrait, a picture of the times, and a splendid new elaboration of what the essay can be"--

"First published in Italian under the title Teorema by Garzanti Editore"--Title page verso.