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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.”

The Caldecott medal-winning d'Aulaires once again captivate their young audience with this beautifully illustrated introduction to Norse legends, telling stories of Odin the All-father, Thor the Thunder-god and the theft of his hammer, Loki the mischievous god of the Jotun Race, and Ragnarokk, the destiny of the gods. Children meet Bragi, the god of poetry, and the famous Valkyrie maidens, among other gods, goddesses, heroes, and giants. Illustrations throughout depict the wondrous other world of Norse folklore and its fantastical Northern landscape.

"Ivan Turgenev's Fathers and Children is a masterpiece not only of the nineteenth century but of the whole of Russian literature, a book full to bursting with life. It is a novel about the relations between the young and the old, about love, families, politics, religion, about strong beliefs and heated disagreements, illness and death. It is about the clash between liberals and conservatives, revolutionaries and reactionaries. At the time of its publication in 1862, the book aroused indignation in its critics who felt betrayed by Turgenev's refusal to let his novel serve a single ideology; it also received spirited defense by those who saw in his diffuse sympathies a greater service to art and to humanity. Fathers and Children is not a practical manifesto but a lasting work of art and a timely book for our present age, newly and ably translated by Nicolas Pasternak Slater and Maya Slater"--

A new collection of short fiction and nonfiction by a Russian master of bittersweet humor, dramatic irony, and poignant insights into contemporary life.The town of Tarusa lies 101 kilometers outside Moscow, far enough to have served, under Soviet rule, as a place where former political prisoners and other “undesirables” could legally settle. Lying between the center of power and the provinces, between the modern urban capital and the countryside, Tarusa is the perfect place from which to observe a Russia that, in Maxim Osipov’s words, “changes a lot [in the course of a decade], but in two centuries—not at all.” The stories and essays in this volume—a follow-up to his debut in English, Rock, Paper, Scissors—tackle major questions of modern life in and beyond Russia with Osipov’s trademark blend of daring and subtlety. Deceit, political pressure, ethnic discrimination, the urge to emigrate, and the fear of abandoning one’s home, as well as myriad generational debts and conflicts, are as complexly woven through these pieces as they are through the lives of Osipov’s fellow Russians and through our own. What binds the prose in this volume is not only a set of concerns, however, but also Osipov’s penetrating insights and fearless realism. “Dreams fall away, one after another,” he writes in the opening essay, “some because they come true, but most because they prove pointless.” Yet, as he reminds us in the final essay, when viewed from ground level, “life tends not towards depletion, towards zero, but, on the contrary, towards repletion, fullness.”

Colette''s celebrated novels about an older courtesan and her young lover, now in a new translation and published in one volume.Colette’s Chéri (1920) and its sequel, The End of Chéri (1926), are widely considered her masterpieces. In sensuous, elegant prose, the two novels explore the evolving inner lives and the intimate relationship of an unlikely couple: Léa de Lonval, a middle-aged former courtesan, and Fred Peloux, twenty-five years her junior, known as Chéri. The two have been involved for years, and it is time for Chéri to get on with life, to make something of himself, but he, the personification of male beauty and vanity, doesn’t know how to go about it. It is time, too, for Léa to let go ofChéri and the sensual life that has been hers, and yet this is more easily resolved than done. Chéri marries, but once married he is restless and is inevitably drawn back to his mistress, as she is to him. And yet to reprise their relationship is only to realize even more the inevitability of its end. That end will come when Chéri, back from World War I, encounters a world that the war has changed through and through. Lost in his memories of time past, he is irremediably lost to the busy present. Paul Eprile’s new translation of these two celebrated novels brings out a vivid sensuality and acute intelligence that past translations have failed to capture.

In post-WWII South America, a struggling writer embarks on a murderous thought experiment to help kickstart his career in this next tale of longing from the author of Zama. The Silentiary takes place in a nameless Latin American city during the early 1950s. A young man employed in mid-level management entertains an ambition to write a book of some sort. But first he must establish the necessary precondition, which the crowded and noisily industrialized city always denies him, however often he and his mother and wife move in search of it. He thinks of embarking on his writing career with something simple, a detective novel, and ponders the possibility of choosing a victim among the people he knows and planning a crime as if he himself were the killer. That way, he hopes, his book might finally begin to take shape.This is the second of the three novels by Antonio Di Benedetto that have come to be known as the Trilogy of Expectation, after the dedication "To the victims of expectation" in the first volume, Zama. Together these three works constitute, in Juan José Saer's words, "one of the culminating moments of twentieth-century narrative fiction in Spanish."

A tale of high adventure and lyrical celebration, tenderness and violence, generosity and ruthlessness, Memed, My Hawk is the defining achievement of one of the greatest and most beloved of living writers, Yashar Kemal. It is reissued here with a new introduction by the author on the fiftieth anniversary of its first publication.Memed, a high-spirited, kindhearted boy, grows up in a desperately poor mountain village whose inhabitants are kept in virtual slavery by the local landlord. Determined to escape from the life of toil and humiliation to which he has been born, he flees but is caught, tortured, and nearly killed. When at last he does get away, it is to set up as a roving brigand, celebrated in song, who could be a liberator to his people—unless, like the thistles that cover the mountain slopes of his native region, his character has taken an irremediably harsh and unforgiving form.

Searingly hot in the summer, bitterly cold in the winter, the ancestral estate of the Golovlyov family is the end of the road. There Anna Petrovna rules with an iron hand over her servants and family-until she loses power to the relentless scheming of her hypocritical son Judas.One of the great books of Russian literature, The Golovlyov Family is a vivid picture of a condemned and isolated outpost of civilization that, for contemporary readers, will recall the otherwordly reality of Macondo in Gabriel García Márquez's One Hundred Years of Solitude.

In the warring, neo-feudal society of this cross-genre novel for fans of Cormac McCarthy and William Gibson, the greatest treasure is a dose of tellurium—a magical drug administered by a spike through the brain.Telluria is set in the future, when a devastating holy war between Europe and Islam has succeeded in returning the world to the torpor and disorganization of the Middle Ages. Europe, China, and Russia have all broken up. The people of the world now live in an array of little nations that are like puzzle pieces, each cultivating its own ideology or identity, a neo-feudal world of fads and feuds, in which no one power dominates. What does, however, travel everywhere is the appetite for the special substance tellurium. A spike of tellurium, driven into the brain by an expert hand, offers a transforming experience of bliss; incorrectly administered, it means death.The fifty chapters of Telluria map out this brave new world from fifty different angles, as Vladimir Sorokin, always a virtuoso of the word, introduces us to, among many other figures, partisans and princes, peasants and party leaders, a new Knights Templar, a harem of phalluses, and a dog-headed poet and philosopher who feasts on carrion from the battlefield. The book is an immense and sumptuous tapestry of the word, carnivalesque and cruel, and Max Lawton, Sorokin’s gifted translator, has captured it in an English that carries the charge of Cormac McCarthy and William Gibson.

A centenary edition of E. E. Cummings's antic autobiographical novel about his imprisonment in a French military detention camp during World War I.In 1917, after the entry of America into World War I, E. E. Cummings, a recent graduate of Harvard College, volunteered to serve on an ambulance corps in France. He arrived in Paris with a new friend, William Slater Brown, and they set about living it up in the big city before heading off to their assignment. Once in the field, they wrote irreverent letters about their experiences, which attracted the attention of the censors and ultimately led to their arrest. They were held for months in a military detention camp, sharing a single large room with a host of fellow detainees. It is this experience that Cummings relates in lightly fictionalized form in The Enormous Room, a book in which a tale of woe becomes an occasion of exuberant mischief. A free-spirited novel that displays the same formal swagger as his poems, a stinging denunciation of the stupidity of military authority, and a precursor to later books like Catch-22 and MASH, Cummings’s novel is an audacious, uninhibited, lyrical, and lasting contribution to American literature.

A new translation of the best and most provocative work by France's infamous rebel poet, in a bilingual editionPoet, prodigy, precursor, punk: the short, precocious, uncompromisingly rebellious career of the poet Arthur Rimbaud is one of the legends of modern literature. By the time he was twenty, Rimbaud had written a series of poems that are not only masterpieces in themselves but that forever transformed the idea of what poetry is. Without him, surrealism is inconceivable, and his influence is palpable in artists as diverse as Henry Miller, John Ashbery, Bob Dylan, and Patti Smith. In this essential volume, renowned translator Mark Polizzotti offers authoritative and inspired new versions of Rimbaud’s major poems and letters, including generous selection of Illuminations and the entirety of his lacerating confession A Season in Hell—capturing as never before not only the meaning but also the daredevil attitudes and incantatory rhythms that make Rimbaud’s works among the most perpetually modern of his or any other generation.

In this warm and vibrant work of memoir and criticism, a young writer forges a friendship with Philip Guston, one of the most influential and controversial painters of the twentieth century and the subject of Philip Guston Now, a much-discussed retrospective upcoming in several major museums.The late paintings of Philip Guston have had a profound influence on painters today; only the altogether different work of Andy Warhol can be said to have had a comparable impact. As time has passed and Guston's star has risen, it has been forgotten how scandalous and crude these paintings, with their cartoonish imagery and curiously faltering application of paint, were initially deemed to be. The 1970 show at the Marlborough Gallery in which Guston, abandoning the delicate abstract expressionist style for which he was known, revealed his new style was critically savaged and even led to a rift between Guston and his best friend, the composer Morton Feldman, that was never fully mended. In the aftermath of this drubbing, Guston retreated to his studio in Woodstock, New York-in part to nurse his wounds, but more importantly, to go on painting exactly as he saw fit. Ross Feld, a young poet, novelist, and critic, was one of the few reviewers of Guston's show to write favorably about it. Guston responded with a grateful note-"I felt . . . as if we knew each other and had many discussions about painting and literature. In a word-I felt recognition"-and a new friendship was soon born. Feld became an inveterate visitor to the painter's studio-the two would sit up late at night hashing over what Guston had or hadn't achieved-and an inspiration to his work. Guston in Time, written not long before Feld's early death from cancer, is a portrait of Guston the man, of his wife Musa, a major figure not only in the artist's life but in his work, and a reckoning with his supremely individual achievement as an artist. Feld's slim and resonant book is a work of art in its own right. A retrospective of Guston's work, Philip Guston Now, will be on view at the Museum of Fine Arts Boston from May 1-Sept. 11, 2022; at the Museum of Fine Arts Houston from Oct. 23, 2022 to Jan. 15, 2023; at the National Gallery of Art, DC, from Feb. 26-Aug. 27, 2023; and at the Tate Modern, London, from Oct. 3, 2023 to February 4, 2024.

After enduring a vicious bear attack in the Russian Far East''s Kamchatka Peninsula, a French anthropologist undergoes a physical and spiritual transformation that forces her to confront the tenuous distinction between animal and human.In the Eye of the Wild begins with an account of the French anthropologist Nastassja Martin’s near fatal run-in with a Kamchatka bear in the mountains of Siberia. Martin’s professional interest is animism; she addresses philosophical questions about the relation of humankind to nature, and in her work she seeks to partake as fully as she can in the lives of the indigenous peoples she studies. Her violent encounter with the bear, however, brings her face-to-face with something entirely beyond her ken—the untamed, the nonhuman, the animal, the wild. In the course of that encounter something in the balance of her world shifts. A change takes place that she must somehow reckon with.Left severely mutilated, dazed with pain, Martin undergoes multiple operations in a provincial Russian hospital, while also being grilled by the secret police. Back in France, she finds herself back on the operating table, a source of new trauma. She realizes that the only thing for her to do is to return to Kamchatka. She must discover what it means to have become, as the Even people call it, medka, a person who is half human, half bear.In the Eye of the Wild is a fascinating, mind-altering book about terror, pain, endurance, and self-transformation, comparable in its intensity of perception and originality of style to J. A. Baker’s classic The Peregrine. Here Nastassja Martin takes us to the farthest limits of human being.

In the spirit of his highly acclaimed and influential book Reality Hunger, David Shields has composed a mordantly funny, relentlessly self-questioning self-portrait based on questions that interviewers have asked him over forty years.David Shields decided to gather every interview he's ever given, going back nearly forty years. If it was on the radio or TV or a podcast, he transcribed it. He wasn't sure what he was looking for, but he knew he wasn't interested in any of his own answers. The questions interested him-approximately 2,700, which he condensed and collated to form twenty-two chapters focused on such subjects as Process, Childhood, Failure, Capitalism, Suicide, and Comedy. Then, according to Shields, "the real work began: rewriting and editing and remixing the questions and finding a through-line."The result is a lacerating self-demolition in which the author-in this case, a late-middle-aged white man-is strangely, thrillingly absent. As Chuck Klosterman says, "The Very Last Interview is David Shields doing what he has done dazzlingly for the past twenty-five years: interrogating his own intellectual experience by changing the meaning of what seems both obviously straightforward and obviously wrong."Shields's new book is a sequel of sorts to his seminal Reality Hunger: A Manifesto, which Literary Hub recently named one of the most important books of the last decade. According to Kenneth Goldsmith, "Just when you think Shields couldn't rethink and reinvent literature any further, he does it again. The Very Last Interview confirms Shields as the most dangerously important American writer since Burroughs."

Valmiki's Ramayana provides the inspiration for this vibrant collection of poems, each of which acts as a persuasive encounter between English poetry and Indian myth. After is a collection of poems inspired by Valmiki's Ramayana, one of Asia's foundational epic poems and a story-cycle of formative historical importance all across South and Southeast Asia. On the Indian subcontinent, the Ramayana is not only central to religion and folklore but to the conduct of life. People take its characters as models of vice and virtue, courage and devotion, and politicians have been known to take advantage of the veneration in which the book is held. In the West, too, the Ramayana has long been recognized as one of the essential classics of world literature, on par with the Epic of Gilgamesh, the Homeric epics, Virgil, and Dante, even as its stories remain comparatively unfamiliar. In After Vivek Narayanan brings the resources of contemporary English poetry to bear on Valmiki's Ramayana. In a work that bears comparison with Christopher Logue and Alice Oswald's distinctive reshapings of Homer, and Anne Carson's Autobigraphy of Red, Narayanan allows the ancient voice of the poem to confront and engage with modern experience, initiating a transformative conversation across time.

Now in paperback, a collection of “darkly humorous, existential, erotic, trance inducing” (The New York Times) short stories by the lauded French comics artist Nicole Claveloux.Nicole Claveloux’s short stories—originally published in the late 1970s and never before collected in English—are among the most beautiful comics ever drawn: whimsical, intoxicating, with the freshness and splendor of dreams. In hallucinatory color or elegant black-and-white, she brings us into lands that are strange but oddly recognizable, filled with murderous grandmothers and lonely city dwellers, bad-tempered vegetables and walls that are surprisingly easy to fall through. In the title story, written with Edith Zha, a new houseplant becomes the first step in an epic journey of self-discovery and a witty fable of modern romance—complete with talking shrubbery, a wised-up genie, and one very depressed bird.This selection, designed and introduced by Daniel Clowes, presents the full achievement of an unforgettable, unjustly neglected master of French comics.

By the Winner of the Hans Christian Andersen Medal for Lifetime Achievement in Children''s LiteratureAlbert the glassblower and Sofia are the loving parents of little Klas and Klara. Albert makes the most beautiful glass bowls and vases (unfortunately they are so impractical that no one will buy them), while Sofia supports the family by working in the fields. Every year Albert goes to the fair to try to sell his wares, and sometimes Sofia and the children go too. At the fair the family meets Flutter Mildweather, a weaver of magical rugs that foretell the future, and Klas and Klara come the attention of the splendid Lord and Lady of All Wishes Town, who have everything they want except for one: children.   Full of curious and vivid characters—like the one-eyed raven Wise Wit, who can only see the bright side of life, and the monstrous governess Nana, whose piercing song can shatter glass—The Glassblower’s Children also ponders such serious matters as what it means to find meaningful work and the difference between what you want and what you need. In The Glassblower’s Children Maria Gripe has drawn on fairy tales and Norse myths to tell a thrilling story with a very modern sensibility.

A wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi.Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.

Newly translated, unfinished works about power, class conflict, and artistic inspiration by Russia's greatest poet.Alexander Pushkin, Russia’s foundational writer, was constantly experimenting with new genres, and this fresh selection ushers readers into his creative laboratory. Politics and history weighed heavily on Pushkin’s imagination, and in “Peter the Great’s African” he depicts the Tsar through the eyes of one of his closest confidantes, Ibrahim, a former slave, modeled on Pushkin’s maternal great-grandfather. At once outsider and insider, Ibrahim offers a sympathetic yet questioning view of Peter’s attempt to integrate his vast, archaic empire into Europe. In the witty “History of the Village of Goriukhino” Pushkin employs parody and self-parody to explore problems of writing history, while “Dubrovsky” is both a gripping adventure story and a vivid picture of provincial Russia in the late eighteenth century, with its class conflicts ready to boil over in violence. “The Egyptian Nights,” an effervescent mixture of prose and poetry, reflects on the nature of artistic inspiration and the problem of the poet’s place in a rapidly changing and ever more commercialized society.

Set in 1970s Japan, this tender and poetic novel about a young, single mother struggling to find her place in the world is an early triumph by a modern Japanese master.Alone at dawn, in the heat of midsummer, a young woman named Takiko Odaka departs on foot for the hospital to give birth to a baby boy. Her pregnancy, the result of a brief affair with a married man, is a source of sorrow and shame to her abusive parents. For Takiko, however, it is a cause for reverie. Her baby, she imagines, will be hers and hers alone, a challenge that she also hopes will free her. Takiko’s first year as a mother is filled with the intense bodily pleasures and pains that come from caring for a newborn. At first she seeks refuge in the company of other women—in the hospital, in her son’s nursery—but as the baby grows, her life becomes less circumscribed as she explores Tokyo, then ventures beyond the city into the countryside, toward a mountain that captures her imagination and desire for a wilder freedom.

This brutally gripping novel about the African-American Great Migration follows the three Moss brothers, who flee the rural South to work in industries up North. Delivered by day into the searing inferno of the steel mills, by night they encounter a world of surreal devastation, crowded with dogfighters, whores, cripples, strikers, and scabs. Keenly sensitive to character, prophetic in its depiction of environmental degradation and globalized labor, Attaway''s novel is an unprecedneted confrontation with the realities of American life, offering an apocalyptic vision of the melting pot not as an icon of hope but as an instrument of destruction. Blood on the Forge was first published in 1941, when it attracted the admiring attention of Richard Wright and Ralph Ellison. It is an indispensable account of a major turning point in black history, as well as a triumph of individual style, charged with the concentrated power and poignance of the blues.

The second volume of a titanic masterpiece of twentieth-century literature, named one of the best books of 2019 by The New York Times critics.Beginning in August 1967 and ending in August 1968, Uwe Johnson's Anniversaries unfolds the story of a year in the life of Gesine Cresspahl, a German émigré living in New York, and her ten-year-old daughter, Marie, a year during which Gesine tells Marie her own story of growing up under the Nazis and during and after World War II in a small north German town near the Baltic Sea. Comparable in richness of invention and depth of feeling to Joyce's Ulysses and Proust's In Search of Lost Time, Anniversaries is one of the world's great novels.Anniversaries, Volume 2 begins on April 20. Before long Marie will be devastated by the assassination of Robert F. Kennedy, even as the news of the Prague Spring has awakened Gesine's long-dashed hopes that Socialism could be a humanism. Meanwhile, her boss at the bank has his own ideas about Czechoslovakia, and Gesine faces the prospect of having to move there for work.Continuing the story of her past from Anniversaries, Volume 1, Gesine describes the Soviet occupation of her hometown, Jerichow, where her father was installed as mayor and ended up in a brutal prison camp. Gesine herself charts a rebellious course through school, ever more bitterly conscious of the moral ugliness of life behind the Iron Curtain. As the year of the novel comes to its end, past and present converge and the novel circles back to its beginnings: Gesine tells Marie about her father, Jakob, dead before she was born, about leaving East Germany, and, as history threatens to take them away from New York, about the beginning of their life together in the city that they have both come to love.