Books published by New Directions Publishing Corporation

I go out of the darknessOnto a road of darknessLit only by the far offMoon on the edge of the mountains.-Izumi ShikobuOver the years, thousands of readers have discovered the beauty of classic Japanese poetry through the superb English versions by the great American poet Kenneth Rexroth. Mostly haiku, these poems range from the classical and medieval to modern poetry, with an emphasis on folk songs and love lyrics. Because women played such an outstanding role in Japanese literature, included here are selections from their work, including the contemporary, deeply sensuous Marichiko. This elegant, beautifully designed gift book of poems spanning many centuries presents the original texts in romanji, the transliteration into the Western alphabet.

In Peter Cole's remarkable new book, the forces and sources that have long driven his work come together in singular fashion. Things on Which I've Stumbled rides a variable music that takes it from an archeology of mysterious poetic fragments unearthed in an ancient Egyptian synagogue to poignant political commentary on the blighted hills surrounding modern Jerusalem. Cole's vision of connectedness, his wit, and his grounded wisdom, along with his keen sense of literature's place in a meaningful life, render these poems at once fresh and abiding. Widely acclaimed for his translations from Hebrew and Arabic, Cole is also the author of two highly praised collections of poems. Writing in The New York Review of Books, Harold Bloom called Peter Cole "a major poet-translator." In Things on Which I've Stumbled, he turns to translating the world.

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.

A groundbreaking anthology of classical Chinese translations by giants of Modern American poetry. A rich compendium of translations, The New Directions Anthology of Classical Chinese Poetry is the first collection to look at Chinese poetry through its enormous influence on American poetry. Weinberger begins with Ezra Pound's Cathay (1915), and includes translations by three other major U.S. poetsWilliam Carlos Williams, Kenneth Rexroth, Gary Snyderand an important poet-translator-scholar, David Hinton, all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets. The anthology also includes previously uncollected translations by Pound; a selection of essays on Chinese poetry by all five translators, some never published before in book form; Lu Chi's famous "Rhymeprose on Literature" translated by Achilles Fang; biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves; and also Weinberger's excellent introduction that historically contextualizes the influence Chinese poetry has had on the work of American poets.

This collection of recent poems is graced with a short introduction by the poet in which he says, "All I ever wanted to do was to paint light on the walls of life." For more than fifty years Ferlinghetti has been doing just thatilluminating both the everyday and the unusual, all the while keeping true to his original dictum of speaking in a way accessible to everyone. He has been, and remains, "One of our ageless radicals and true bards" (Booklist) and his voice is well-known in many places around the world. He was one of the two American poets (the other being John Ashbery) chosen to participate in the 2001 Celebration of UNESCO's World Poetry Day in Delphi, Greece, where he along with his international confreres each poetically addressed the Oracle.

Fresco: Selected Poetry of Luljeta Lleshanaku introduces to English-speaking readers the arresting work of Luljeta Lleshanaku, one of Albania's foremost younger poets. Born in Elbasan in 1968, she grew up under virtual house arrest because of her family's opposition to the Stalinist dictatorship of Enver Hoxha. She was not permitted to attend college or publish her poetry until the weakening and eventual collapse of the Communist regime in the early '90s. She is among the first generation of poets to emerge out of the cultural wasteland of enforced socialist realism in the arts, reinventing Albanian poetry almost entirely from scratch. In a voice at once firm yet quiet and spare, with haunting imagery that challenges the imagination, her highly charged poems carry the burden of her own and her country's past.For Fresco, editor Henry Israeli has gathered fifty-seven poems from Luljeta Lleshanaku's published books (The Sleepwalker's Eyes, 1992; Sunday Bells, 1994; Half-Cubism, 1996; Antipastoral, 1999) as well as some newer work. His Afterword places her writing within its personal and social context, while an Introduction by the award-winning translator Peter Constantine views the poet from the wider perspective of modern Albanian literature. The poems themselves are translated by Henry Israeli in collaboration with the author and Uk Zenel Bucpapa, Noci Deda, Joanna Goodman, Alban Kupi, Albana Lleshanaku, Lluka Qafoku, Shpresa Qatipi, Qazim Sheme, and Daniel Weissbort. Many of the translations have appeared in such magazines as Grand Street, Denver Quarterly, The Iowa Review, Seneca Review, and Quarterly West.

The new book spanning the genres of poetry, fiction, and theater, by the highly-acclaimed Thalia Field. The wonderful writings in Thalia Field's long-awaited new book Point and Line deny categorization, they are "nicheless." Perhaps describable as "epic poetries," these riveting pieces represent a confluence of genres in which Thalia Field has been involved over the course of her career: fiction, theater, and poetry. Written from a constructivist, post-genre sensibility, they elude classification, and present the author's concern with clarity in a world that resists it. For instance, in "Hours" and "Setting, the Table," Field uses indeterminate performance techniques to emphasize the categorical/conceptual nature of thought. Other pieces use generative schemes, portraits of mental shapes, which create meaning out of noise. Visually, each chapter is captivating, showing the author's need for shapes and colors in her work, her fascination with the contours of speech.

"The menace of surrealism was so frequently advertised that any reader of this book should be allowed the impudence of demanding my credentials." So opens Wayne Andrews's The Surrealist Parade, a portrait of the movement in literature and art by a man who, at the age of nineteen, began to correspond with its major figures and afterward came to know them well. Under the name of Montagu O'Reilly, Andrews wrote the surrealist fiction Pianos of Sympathy (1936), the very first New Directions book. In later years, Andrews became a social historian, art archivist, and scholar of architectural history, publishing no less than sixteen books, among them his well-known study of the cultural roots of Nazism, Siegfried's Curse, and a pungent biography of Voltaire (meanwhile, Montagu O'Reilly had made a reappearance on the ND list in 1948 with Who Has Been Tampering with These Pianos?). When Andrews died in 1987, he had completed all but the last chapter of The Surrealist Parade, his portrait of a movement in art and literature that took in such disparate temperaments as André Breton, Paul Éluard, and Salvador Dalí. The book is, in the words of his lifelong friend and publisher, James Laughlin, a "little insider's history... Montagu is very much behind Wayne in these caustic yet admiring sketches."

Wagner, an all-efficient German engineer, takes in hand the job of rescuing a floundering construction project in the South American rain forest. But before he even reaches the site, his car runs over an emerald-green Acaray snake--marking him, according to local beliefs, for death. Things go from bad to worse. Wagner's slowly degenerating colleagues are useless; his attempts to help the workers bring on a strike that the military regime suppresses; and he botches up the Company's delicate system of bribery. The building is sinking into the red mud faster than it is being built. Losing ground, Wagner tensely observes himself losing balance and events take an ugly turn.

Wild Dreams of a New Beginning brings together two acclaimed poetry volumes by Lawrence Ferlinghetti, one of our "ageless radicals and true bards" (Booklist).Who Are We Now? (1976), the first half of Wild Dreams, takes a long poetic look at the cultural fallout of a more radical time. This probing of the changes in the American psyche through the 1970s is carried forward in the second part, Landscapes of Living & Dying (1979)-a work originally hailed by Library Journal as "Ferlinghetti's strongest work since his 1957 A Coney Island of the Mind. . . . [He] pursues his disheveled muse with the innocent passion of a young beatnik, hiding his authentic erudition behind a comfortable guise of spontaneous composition."

Edouard Roditi's critical study of Oscar Wilde, originally published in 1947 in New Directions' Makers of Modern Literature Series, was a pioneering attempt to evaluate a literary reputation long distorted by the journalistic appetite for scandal. Relegating biography to a back seat, Roditi addressed the important of Wilde's ingenious, imaginative, and dialectical thought in his own time and showed how his poetry, novels, plays, and critical writings were a key influence in the shift of English and American literature away from established and aging Romanticism toward Modernism. For this first paperbound edition of his perceptive and erudite study of Wilde, Roditi has added three additional chapters touching on new material about Wilde as well as the new public attitudes about homosexuality that have evolved since the book was first published.An American long resident in Paris, Edouard Roditi is an internationally known linguist, scholar, art critic, and author and translator of a considerable number of works of fiction and poetry, criticism and biography. A collection of his witty and exotic short stories, The Delights of Turkey, is available under the New Directions imprint.

Written at various times over the last twenty-five years but never produced, the four scripts included in Tennessee Williams's Stopped Rocking and Other Screenplays encompass both the realistic style of "the early Williams" (the author's quotes) and the more experimental dramatic devices of many of his "later" plays. Two screenplays from the fifties, All Gaul Is Divided and The Loss of a Teardrop Diamond, remained in the files of Williams's New Orleans apartment until a thorough cleaning uncovered them in the mid-seventies. Thus, All Gaul, an expanded version of the story of a St. Louis teacher's dreams of love told in A Lovely Sunday for Creve Coeur (1978) actually predates that play. A companion piece in mood and style, The Loss of a Teardrop Diamond lyrically evokes the late twenties debutante society of Memphis and the Delta plantations. Adapted from the graphic short story of the same name, One Arm concerns a young male hustler awaiting execution for murder. Because much of the visual action is combined with a voice-over narration, Williams considered the form of this "film-play" from the late sixties somewhat experimental. In Stopped Rocking (1977), Williams returns to a familiar theme, the institution as the last haven of those who cannot cope with daily conflict and have "resigned from life." He was confident that this play, like so many of his others, would eventually find its audience: "I know that the 'dark' of the work is more than balanced by its humanity, and that this light of humanity will tip the balance favorably, as a natural act of grace."

Reality and fantasy are interwoven with terrifying power as two actors on tour-brother and sister-find themselves deserted by the trope in a decrepit "state theatre in an unknown state." Faced (perhaps) by an audience expecting a performance, they enact "The Two-Character Play"-an illusions within an illusion, and "out cry" from isolation, panic and fear. "I think it is my most beautiful play since Streetcar," Tennessee Williams said, "and I've never stopped working on it....It is a cri de coeur, but then all creative work,all life, in a sense is a cri de coeur."In the course of its evolution, several earlier versions of The Two-Character Play have been produced. The first of them was presented in 1967 in London and Chicago and brought out in 1969 by New Directions in a signed limited edition. The next, staged in 1973 in New York under the title Out Cry, was published by New Directions in 1973 The third version (New York, 1975), again titled The Two-Character Play, is the one Tennessee Williams wished to include in New Directions' The Theatre of Tennessee Williams series. It is this version which is presented in this ND paperback.

Originally published in 1928 by Macaulay.

The Secret Meaning of Things has all the elements of his earlier poetry: lyrical intensity, wit, social concern, satirical bite, and above all a classical claritas. But it goes much further: there is a deepening of vision and a darker understanding of "our clay condition." The six long poems in The Secret Meaning of Things show a progressive continuity and clarity of perception that apprehends both the hard reality and luminous irreality in everyday phenomena. In "Assassination Raga"--on the death of Robert Kennedy--the glass through which the poet sees darkly is the television screen; the poem was first read on the night of RFK's funeral at a mass memorial in San Francisco. "Bickford's Buddha" is a meditation on "Observation Fever" in Harvard Square, while "All Too Clearly" finds a "touch of old surrealism/at a stoplight in La Jolla." "Through the Looking Glass" begins with an actual flight aboard a commercial airliner and moves through a psychedelic vision to a final flash of the Dance of Shiva, which in turn opens out into the worldview of "After the Cries of Birds." "Moscow in the Wilderness, Segovia in the Snow" comes out of Ferlinghetti's travels to Moscow and across the steppes in the winter of 1967.

When Guillaume Apollinaire died in 1918 at the age of thirty-eight, as the result of a war wound, he was already known as one of the most original and important poets of his time. He had led the migration of Bohemian Paris across the city from Montmartre to Montparnasse; he had helped formulate the principles of Cubism, having written one of the first books on the subject, and coined the word "Surrealist"; and he had demonstrated in his own work those innovations we have come to associate with the most vital investigations of the avant-garde. This bilingual, illustrated edition of The Selected Writings of Apollinaire, the only representative collection in English translation, begins with a comprehensive critical Introduction by the translator, Roger Shattuck. The next section is devoted to poetry. Included here are almost half of Apollinaire's two best-known volumes, Alcools and Calligrammes, as well as a selection from five other books, and the long love poem La Chanson du Mal-Aimé in its entirety. The prose section leads off with "L'Esprit Nouveau et les Poetes", a seminal discussion of modern poetry that anticipates such movements as Dada and Futurism. This is followed by Apollinaire's almost unobtainable "Introduction to Baudelaire and Oneirocriticism", an early experimental work composed in a style prophetic of Surrealist automatic writing. There are, in addition, two stories, a passage from Anecdotiques, and a section from the novel Le Poete Assassiné.

A biography on the writer and playwright Heinrich von Kleist

Federico Garcia Lorca called The Public "the best thing I've written for the theater." Yet, he acknowledged, "this is for the theater years from now." Now, half a century later, The Public and another of Lorca's most daring works, Play without a Title, are available in English translation for the first time. Surrealism, folk theater, poetry, vivid costumes, black humor--in the The Public, dramatic traditions are ransacked to develop themes as timely in the 1980s as they were taboo when Lorca was writing: if Romeo were a man of thirty and Juliet a boy of fifteen, would their passion be any less authentic? No, says a young observer of the play within the play, "I who climb the mountain twice each day and, when I finish studying, tend an enormous herd of bulls that I've got to struggle with and overpower at every instant, I don't have time to think about whether Juliet's a man or a woman or a child, but only to observe that I like her with such a joyous desire." In both The Public and Play without a Title, the player himself is of as much consequence as the role he plays. The fierce, stark Play without a Title, with its cast of Author, Prompter, Stagehand in the wings, and hecklers in the gallery, clearly heralds developments in today's avant-garde theater. It also reflects the violence of the times in which it was written. As Carlos Bauer notes in his introduction, neither of the plays in this volume was complete in 1936, when Lorca was assassinated by Franco's forces. Still, both have here the unity and grace of finished tours de force.

The miscellany of essays, notes, fragments, and jottings to which William Carlos Williams gave the title The Embodiment of Knowledge was found in manuscript after his death in the archive of his papers at the Beinecke Library at Yale University. Written in 1928-30, and dedicated to his sons, it was intended as a concrete demonstration of the organic nature of education, to show that knowledge is an ongoing process by which we create our selves from day to day. And to underscore the fact that so many of his own books were extended works of self-exploration, Dr. Williams wrote on the cover of his manuscript: "to be printed as it is, faults and all."

Gottfried Benn (1886-1957) occupies a position in modern German literature often compared to that of T. S. Eliot and Ezra Pound in English. This volume presents a comprehensive anthology of the author's finest work-poetry (with the German originals en face), short stories, a scene from one of his plays, essays and autobiographical writings, including a unique insight into the German intellectual metamorphosis before, under and after Hitler. And in a long introduction, the editor, E. B. Ashton, places Benn in the perspective of recent German history and gives an account of his life--a dramatic and moving story in its own right. By profession a physician, Benn was fascinated by the philosophical aspects of many branches of science, and over the years he wrote a number of extraordinary essays in which the poet's intuitive vision was accorded the utmost imaginative freedom.

Written between 1920 and 1932, all five were first published in small editions, three of them in France. These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward."The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

Robert Walser is an overwhelmingly original author with many ardent fans: J.M. Coetzee ("dazzling"), Guy Davenport ("a very special kind of whimsical-serious-deep writer"), and Hermann Hesse ("If he had a hundred thousand readers, the world would be a better place"). Charged with compassion, and an utterly unique radiance of vision, Walser is as Susan Sontag exclaimed "a truly wonderful, heart-breaking writer."The Assistant is his breathtaking 1908 novel, translated by award-winning translator Susan Bernofsky. Joseph, hired to become an inventor's new assistant, arrives one rainy Monday morning at Technical Engineer Karl Tobler's splendid hilltop villa: he is at once pleased and terribly worried, a state soon followed by even stickier psychological complexities. He enjoys the beautiful view over Lake Zurich, in the company of the proud wife, Frau Tobler, and the delicious savory meals. But does he deserve any of these pleasures? The Assistant chronicles Joseph's inner life of cascading emotions as he attempts, both frantically and light-heartedly, to help the Tobler household, even as it slides toward financial ruin. Tobler demands of Joseph, "Do you have your wits about you?!" And Joseph's wits are in fact all around him, trembling like leaves in the breeze-he is full of exuberance and despair, all the raptures and panics of a person "drowning in obedience."

Kanthapura is the story of how Gandhi's struggle for independence from the British came to a typical village, Kanthapura, in South India. Young Moorthy, back from the city with "new ideas," cuts across the ancient barriers of caste to unite the villagers in non-violent action--which is met with violence by landlords and police. The dramatic tale unfolds in a poetic, almost mythical style which conveys as never before the rich textures of Indian rural life. The narrator is an old woman, imbued with the legendary history of the region, who knows the past of all the characters and comments on their actions with sharp-eyed wisdom. Her narrative, and the way she tells it, evokes the spirit of India's traditional folk-epics. This edition includes extensive notes on Indian myths, religion, social customs, and the Independence movement (given at the end of the book) which fill out the background for the American reader's more complete understanding and enjoyment.

This is a short biography. Its subject, François Marie Arouet de Voltaire (1694-1778), would not have objected--he was careful to point out that "the surest way of being a bore is to tell everything." What Wayne Andrews's Voltaire may lack in laundry lists is made up in wit, learning, and an elegance of style eminently appropriate for an appreciation of a man who was never so ruthless as when eliminating the last trace of dust from his own writing. Indeed, Voltaire was the most successful writer of the eighteenth century. It matters little that his plays are today a lost cause, as is his poetry--the author of Candide and the Age of Louis XIV will always have his audience. His irreverence guarantees his immortality. While stressing Voltaire's eternal campaign against Christianity and his monumental efforts to effect justice in an autocratic era, Andrews maintains that his primary loyalty was always to himself. The fervent anti-Christian had his firm friends in the Church. The social philosopher courted Catherine the Great with near servility. But, in Victor Hugo's words: "His smile put an end to violence, his sarcasm put an end to despotism, his irony put an end to infallibility, his perseverance put an end to stubbornness, and the truth he proclaimed put an end to ignorance."