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A one-of-a-kind exploration of the 19th century that ties the time period to our own through essays on a variety of topics in music, film, literature, and art.In Gaslight, Joachim Kalka delves into the mythos of the nineteenth century, exploring our fascination with its “auratic gaslight,” its mingling of romanticism and modernity, enlightenment and darkness. Here we find the roots of our contemporary preoccupations: gender roles and sexuality, terrorism and technology, mad scientists and serial killers, kitsch and commodification. Mustering a wealth of cultural references, Kalka draws illuminating connections between Balzac and Billy Wilder, Mickey Mouse and the arms race, the cake fights of Laurel and Hardy and Madame Bovary’s wedding cake. He brings the nineteenth century to life with all its contradictions, aspirations, and absurdities, inviting us to reexamine that era and our own, and the stories we tell ourselves about history.

The first appearance of Alice Goodman''s two internationally-renowned and controversial libretti, alongside one of her masterful translations.An NYRB Classics Original Nixon in China and The Death of Klinghoffer played a crucial role in bringing opera back to life as a contemporary art form, and they have been popular—and, in the case of Klinghoffer, highly controversial—ever since they were first staged by the director Peter Sellars in the eighties and nineties. Both operas were conceived from the start as collaborations between composer and writer, and their power is due as much to the dazzlingly constructed and deeply felt libretti of the poet Alice Goodman as they are to John Adams’s music. Nixon in China is a story, at once heroic, comic, and unnerving, of men and women making history and of their different conceptions of what history is and what it means to makes it. Klinghoffer, by contrast, has at its center the tragedy of an innocent man condemned at the cost of his life to play a part in history. History Is Our Mother, which takes its title from a line sung by the title character in Nixon in China, brings Goodman’s two libretti together for the first time in book form. Included alongside Goodman’s no less inspired translation of Emanuel Schikaneder’s famous libretto to The Magic Flute, these vivid dramas of character and searching meditations on fate are here revealed as among the most original, ambitious, and accomplished poetic achievements of our time.

Baron Munchausen’s hold on the European imagination dates back to the late eighteenth century when he first pulled himself (and his horse) out of a swamp by his own upturned pigtail. Inspired by the extravagant yarns of a straight-faced former cavalry officer, Hieronymus von Münchhausen, the best-selling legend quickly eclipsed the real-life baron who helped the Russians fight the Turks. Galloping across continents and centuries, the mythical Munchausen’s Travels went through hundreds of editions of increasing length and luxuriance. Sigizmund Krzhizhanovsky, the Russian modernist master of the unsettling and the uncanny, also took certain liberties with the mythical baron. In this phantasmagoric roman à clef set in 1920s Berlin, London, and Moscow, Munchausen dauntlessly upholds his old motto “Truth in lies,” while remaining a fierce champion of his own imagination. At the same time, the two-hundred-year-old baron and self-taught philosopher has agreed to return to Russia, Lenin’s Russia, undercover. This reluctant secret agent has come out of retirement to engage with the real world.

By turns lyrical and philosophical, witty and baffling, A School for Fools confounds all expectations of the novel. Here we find not one reliable narrator but two “unreliable” narrators: the young man who is a student at the “school for fools” and his double. What begins as a reverie (with frequent interruptions) comes to seem a sort of fairy-tale quest not for gold or marriage but for self-knowledge. The currents of consciousness running through the novel are passionate and profound. Memories of childhood summers at the dacha are contemporaneous with the present, the dead are alive, and the beloved is present in the wind. Here is a tale either of madness or of the life of the imagination in conversation with reason, straining at the limits of language; in the words of Vladimir Nabokov, “an enchanting, tragic, and touching book.”

The deepest and most varied of the Tang Dynasty poets, Tu Fu (Du Fu) is, in the words of David Hinton, the "first complete poetic sensibility in Chinese literature." Tu Fu merged the public and the private, often in the same poem, as his subjects ranged from the horrors of war to the delights of friendship, from closely observed landscapes to remembered dreams, from the evocation of historical moments to a wry lament over his own thinning hair. Although Tu Fu has been translated often, and often brilliantly, David Hawkes's classic study, first published in 1967, is the only book that demonstrates in depth how his poems were written. Hawkes presents thirty-five poems in the original Chinese, with a pinyin transliteration, a character-by-character translation, and a commentary on the subject, the form, the historical background, and the individual lines. There is no other book quite like it for any language: a nuts-and-bolts account of how Chinese poems in general, and specifically the poems of one of the world's greatest poets, are constructed. It's an irresistible challenge for readers to invent their own translations.

J. H. Prynne is Britain's leading late-modernist poet. His work, as it has emerged since the 1960s, when he was close to Charles Olson and Edward Dorn, is marked by a remarkable combination of lyricism and abstraction, at once austere and playful. The White Stones is a book that is central to Prynne's career and poetics, and it constitutes an ideal introduction to the achievement and vision of a legendary but in America still little-known contemporary master.

Building can be seen as a master metaphor for modernity, which some great irresistible force, be it Fascism or Communism or capitalism, is always busy rebuilding, and Houses is a book about a man, Arsénie Negovan, who has devoted his life and his dreams to building.Bon vivant, Francophile, visionary, Negovan spent the first half of his life building houses he loved and even named-Juliana, Christina, Agatha-while making his hometown of Belgrade into a modern city to be proud of. The second half of his life, after World War II and the Nazi occupation, he has spent in one of those houses, looked after by his wife and a nurse, in hiding. Houses is set on the final day of his life, when Negovan at last ventures forth to see the world as it is.Negovan is one of the great characters in modern fiction, a man of substance and a deluded fantasist, a beguiling visionary and a monster of selfishness, a charmer no matter what. And perhaps he is right to fear that home is only an illusion in our world, or that only in illusion is there home.

A tale of battling armies, political intrigue, star-crossed romance, and historical cataclysm, The Peach Blossom Fan is one of the masterpieces of Chinese literature, a vast dramatic composition that combines the range and depth of a great novel with the swift intensity of film. In the mid-1640s, famine sweeps through China. The Ming dynasty, almost 300 years old, lurches to a bloody end. Peking falls to the Manchus, the emperor hangs himself, and Ming loyalists take refuge in the southern capital of Nanking. Two valiant generals seek to defend the city, but nothing can overcome the corruption, decadence, and factionalism of the court in exile. The newly installed emperor cares for nothing but theater, leaving practical matters to the insidious Ma Shih-ying. Ma’s crony Juan Ta-ch’eng is as unscrupulous an operator as he is sophisticated a poet. He diverts resources from the starving troops in order to stage a spectacular production of his latest play. History, however, has little time for make-believe, though the earnest members of the Revival Club, centered on the handsome young scholar Hou Fang-yü and his lover Fragrant Princess, struggle to discover a happy ending.

Zone is the fruit of poet-translator Ron Padgett's fifty-year engagement with the work of France's greatest modern poet. This bilingual edition of Apollinaire's poetry represents the full range of his achievement from traditional lyric verse to the pathbreaking visual poems he called calligrams, from often-anthologized classics to hitherto-untranslated gems, from poems of cosmic breadth to a poem about his shoes. Including an introduction by the distinguished scholar Peter Read, helpful endnotes, a preface, and an annotated bibliography by Padgett, this new edition of Apollinaire stands out not only for its compact and judicious selection of the essential poems but also as the work of an important American poet. The Washington Post has said, "No praise can be too high for Ron Padgett's translations."

AN NYRB Classics OriginalIn 1869, at the age of twenty-four, the precociously brilliant Friedrich Nietzsche was appointed to a professorship of classical philology at the University of Basel. He seemed marked for a successful and conventional academic career. Then the philosophy of Schopenhauer and the music of Wagner transformed his ambitions. The genius of such thinkers and makers-the kind of genius that had emerged in ancient Greece-this alone was the touchstone for true understanding. But how was education to serve genius, especially in a modern society marked more and more by an unholy alliance between academic specialization, mass-market journalism, and the militarized state? Something more than sturdy scholarship was called for. A new way of teaching and questioning, a new philosophy . . .What that new way might be was the question Nietzsche broached in five vivid, popular public lectures in Basel in 1872. Anti-Education presents a provocative and timely reckoning with what remains one of the central challenges of the modern world.

Shortlisted for the 2017 National Translation Award in Poetry and the 2017 Best Translated Book Award in PoetryBefore his tragic death, Szilárd Borbély had gained a name as one of Europe''s most searching new poets. Berlin-Hamlet—one of his major works—evokes a stroll through the phantasmagoric shopping arcades described in Walter Benjamin’s Arcades Project, but instead of the delirious image fragments of nineteenth-century European culture, we pass by disembodied scraps of written text, remnants as ghostly as their authors: primarily Franz Kafka but also Benjamin himself or the Hungarian poets Attila József or Erno Szép. Paraphrases and reworked quotations, drawing upon the vanished prewar legacy, particularly its German Jewish aspects, appear in sharp juxtaposition with images of post-1989 Berlin frantically rebuilding itself in the wake of German reunification.

AN ANTHOLOGY FROM THE AUTHOR OF STONERPoetry in English as we know it was largely invented in England between the early 1500s and 1630, and yet for many years the poetry of the era was considered little more than a run-up to Shakespeare. The twentieth century brought a reevaluation, and the English Renaissance has since come to be recognized as the period of extraordinary poetic experimentation that it was. Never since have the possibilities of poetic form and, especially, poetic voice—from the sublime to the scandalous and slangy—been so various and inviting. This is poetry that speaks directly across the centuries to the renaissance of poetic exploration in our own time.John Williams’s celebrated anthology includes not only some of the most famous poems by some of the most famous poets of the English language (Sir Thomas Wyatt, John Donne, and of course Shakespeare) but also-—-and this is what makes Williams’s book such a rare and rich resource—the strikingly original work of little-known masters like George Gascoigne and Fulke Greville.

An NYRB Classics Original Emmanuel Bove was one of the most original writers  to come out of twentieth-century France and a popular  success in his day. Discovered by Colette, who arranged for the publication of his first novel, My Friends, Bove enjoyed a busy literary career, until the German occupation silenced him. During his lifetime, his novels and stories were admired by Rilke, the surrealists, Camus, and Beckett, who said of him that “more than anyone else he has an instinct for the essential detail.” Henry Duchemin and His Shadows is the ideal introduction to Bove’s world, with its cast of stubborn isolatoes who call to mind Melville’s Bartleby, Walser’s “little men,” and Rhys’s lost women. Henri Duchemin, the protagonist of the collection’s first story, “Night Crime,” is ambivalent, afraid of appearing ridiculous, desperate for money: in other words, the perfect prey. Criminals, beautiful women, and profiteers threaten the sad young men of Bove’s stories, but worse yet are the interior voices and paranoia that propel them to their fates. The poet of the flophouse and the dive, the park bench and the pigeon’s crumb, Bove is also a deeply empathetic writer for whom no defeat is so great as to silence desire.

The definitive collection of works by one of the Tang Dynasty's most eccentric (and badly-behaved) poets, now back in print for the first time in decades.Li He is the bad-boy poet of the late Tang dynasty. He began writing at the age of seven and died at twenty-six from alcoholism or, according to a later commentator, "sexual dissipation," or both. An obscure and unsuccessful relative of the imperial family, he would set out at dawn on horseback, pause, write a poem, and toss the paper away. A servant boy followed him to collect these scraps in a tapestry bag. Long considered far too extravagant and weird for Chinese taste, Li He was virtually excluded from the poetic canon until the mid-twentieth century. Today, as the translator and scholar Anne M. Birrell, writes, "Of all the Tang poets, even of all Chinese poets, he best speaks for our disconcerting times." Modern critics have compared him to Rimbaud, Baudelaire, Keats, and Trakl. The Collected Poems of Li He is the only comprehensive selection of his surviving work (most of his poems were reputedly burned by his cousin after his death, for the honor of the family), rendered here in crystalline translations by the noted scholar J. D. Frodsham.

Considered the most inovative study of Chinese poetry ever written, François Cheng's Chinese Poetic Writing--now in its first expanded, English-language edition--is an essential read for fans and scholars of Chinese literature and the art of poetry in general. Since its first publication in French in 1977, Chinese Poetic Writing has been considered by many to be the most innovative study of Chinese poetry ever written, as well as a profound and remarkable meditation on the nature of poetry itself. As the American poet Gustaf Sobin wrote, two years after the book's appearance, "In France it is already considered a model of interdisciplinary research, a source book, and a 'star' in the very space it initially explored, traced, and elaborated." Cheng illustrates his text with an annotated anthology of 135 poems he has selected from the Tang dynasty, presented bilingually, and with lively translations by Jerome P. Seaton. It serves as a book within the book, and an excellent introduction to the golden age of Tu Fu, Li Po, Wang Wei, and company. The 1982 translation, long out of print, was based on the first French edition. Since then, Cheng has greatly expanded the book. This is the first English-language edition of the expanded version, with the original translators returning to accommodate the many new additions and revise their earlier work.

A wonderful holiday story about a small bird named Arthur, who lives in New York City.After a fine, green summer in Central Park, all the birds are preparing to fly south. Except for Arthur, that is. Arthur is off playing, gazing into a lake, dreaming of wider seas. And so Arthur is left behind. It begins to get cold. The trees are losing their leaves. Arthur feels uneasy and lonely, especially after his nest is scattered to the winds. Arthur must find a new home, and after he does—he settles down in a statue’s open book—he discovers a new city, where he can play hide-and-seek in the steam from a manhole cover and feast with the pigeons on crumbs, and which soon brings other delightful surprises (and challenges): icicles, a great big sweet-smelling evergreen tree that is all lit up with people gathered around it to sing “Gloria” in the cold night, and snow—a whole winter wonderland! And then the trees begin to bud; the birds come back.... With Arthur as their guide through the city, children will find new poetry and beauty on every corner.

A deeply considered and provocative new look at major American writers—including Saul Bellow, Norman Mailer, and W.H. Auden—Edward Mendelson’s Moral Agents is also a work of critical biography in the great tradition of Plutarch, Samuel Johnson, and Emerson. Any important writer, in Mendelson’s view, writes in response to an idea of the good life that is inseparable from the life the writer lives.  Fusing biography and criticism and based on extensive new research, Moral Agents presents challenging new portraits of eight writers—novelists, critics, and poets—who transformed American literature in the turbulent twentieth century. Eight sharply distinctive individuals—inspired, troubled, hugely ambitious—who reimagined what it means to be a writer. There’s Saul Bellow, a novelist determined to rule as a patriarch, who, having been neglected by his father, in turn neglected his son in favor of young writers who presented themselves as his literary heirs. Norman Mailer’s extraordinary ambition, suppressed insecurity, and renegade metaphysics muddled the novels through which he hoped to change the world, yet these same qualities endowed him with an uncanny sensitivity and deep sympathy to the pathologies of American life that make him an unequaled political reporter. William Maxwell wrote sad tales of small-town life and surrounded himself with a coterie of worshipful admirers. As a powerful editor at The New Yorker, he exercised an enormous and constraining influence on American fiction that is still felt today. Preeminent among the critics is Lionel Trilling, whose Liberal Imagination made him a celebrity sage of the anxiously tranquilized 1950s, even as his calculated image of Olympian reserve masked a deeply conflicted life and contributed to his ultimately despairing worldview. Dwight Macdonald, by contrast, was a haute-WASP anarchist and aesthete driven by an exuberant moral commitment, in a time of cautious mediocrity, to doing the right thing. Alfred Kazin, from a poor Jewish émigré background, remained an outsider at the center of literary New York, driven both to escape from and do justice to the deepest meanings of his Jewish heritage. Perhaps most intriguing are the two poets, W.H. Auden and Frank O’Hara. Early in his career, Auden was tempted to don the mantle of the poet as prophet, but after his move from England to America he lived and wrote in a spirit of modesty and charity born out of a deeply idiosyncratic understanding of Christianity. O’Hara, tireless partygoer and pioneering curator at MoMA, wrote much of his poetry for private occasions. Its lasting power has proven to be something different from its avant-garde reputation: personal warmth, individuality, rootedness in ancient traditions, and openness to the world.

Anthropology is a science whose most significant discoveries have come when it has taken its bearings from literature, and what makes Paul Radin’s Primitive Man as Philosopher a seminal piece of anthropological inquiry is that it is also a book of enduring wonder. Writing in the 1920s, when anthropology was still young, Radin set out to show that “primitive” cultures are as intellectually sophisticated and venturesome as any of their “civilized” counterparts. The basic questions about the structure of the natural world, the nature of right and wrong, and the meaning of life and death, as well as basic methods of considering the truth or falsehood of the answers those questions give rise to, are, Radin argues, recognizably consistent across the whole range of human societies. He rejects both the romantic myth of the noble savage and the rationalist dismissal of the primitive mind as essentially undeveloped, averring that the anthropologist and the anthropologist’s subject meet on the same philosophical ground, and only when that is acknowledged can anthropology begin in earnest. The argument is clearly and forcibly made in pages that also contain an extraordinary collection of poems, proverbs, myths, and tales from a host of different cultures, making Primitive Man as Philosopher not only a lasting contribution to the discipline of anthropology but a unique, rich, and fascinating anthology, one that both illuminates and enlarges our imagination of the human.