Böcker av James Laughlin

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

Translations of substantial works by three important European poets-Erik Lindegren (Sweden), Cesare Pavese (Italy) and Roberto Sanesi (Italy)-are among the highlights of this 1969 New Directions Annual.Also, there appear works by other well known poets such as William Bronk, Lawrence Ferlinghetti, Anselm Hollo (England), W. S. Merwin, Edouard Roditi, and Mark Strand.Emmett Jarrett, whose long poem, Design for the City of Man: A Vision, is an exciting discovery.The prose section includes Thomas Merton's satire on Negro segregation, Plessy vs. Ferguson: Theme and Variations, and a group of stories by Sanford Chernoff, Marvin Cohen, James B. Hall, James Purdy, Mia Raffel and Margaret Randall, which illustrate the rich diversity, both in technique and subject matter, of the short story form from the late sixties. There is also, in translation from the Flemish, the work of an important but too-little-known precursor of the modern movement, Paul van Ostaijen's Ika Loch's Brothel.Trim Bissel: THE REUNION Besmilr Brigham: SONGS FROM THE THIRTEENTH MASK William Bronk: SIX POEMS Sanford Chernoff: NOT MY ANIMAL Marvin Cohen: LOVE BY PROXY OF SOLITUDE Lawrence Ferlinghetti: THE THIRD WORLD Mitchell Goodman: EIGHT POEMS James B. Hall: TRIUMPH OF THE OMOPHAGISTS Walter Hamady: PLUM-FOOT POEMS Anselm Hollo: THE COHERENCES Emmet Jarret: DESIGN: A VISION Erik Lindegren: THE MAN WITHOUT A WAY Thomas Merton: PLESSY VS. FERGUSON: THEME AND VARIATION W. S. Mervin: TWO POEMS Paul van Ostaijen: IKA LOCH'S BROTHEL Cesare Pavese: DEATH WILL COME AND WILL HAVE YOUR EYES James Purdy: MR. EVENING Mia Raffel: SNAILSFEET Margaret Randall: THE IMPOSSIBLE FILM STRIP OR, HISTORY OF MARRIAGE Edouard Roditi: MEDITATION ON BOOKS Roberto Sanesi: INFORMATION REPORT Mark Strand: THE WAY IT IS

James Laughlin-poet, ladies' man, heir to a steel fortune, and the founder of New Directions-was still at work on his autobiography when he died at 83. He left behind personal files crammed with memories and memorabilia: in "M" he is taking Marianne Moore to Yankee games (outings captured here in charming snapshots) to discuss "arcane mammals," and in "N" nearly plunging off a mountain, hunting butterflies with Nabokov ("Volya was a doll in a very severe upper-crust Russian way").With an accent on humor, The Way It Wasn't is a scrapbook loaded with ephemera-letters and memories, clippings and photographs. This richly illustrated album glitters like a magpie's nest, if a magpie could have known Tennessee Williams, W.C. Williams, Merton, Miller, Stein, and Pound. In "C": "I wish that nice Jean Cocteau were still around. He took me to lunch at the Grand Véfours in the Palais-Royal and explained all about flying saucers. He understood mechanical things. He would advise me." In "P": "There was not much 'gracious living' in Pittsburgh, where at one house, the butler passed chewing gum on a silver salver after coffee." And: "The world is full of a large number of irritating people." In "H" there's Lillian Hellman: "What a raspy character. When I knocked at her door to try to borrow one of her books (hoping to butter her up) she only opened her door four inches and said words to the effect: 'Fuck off, you rapist.'" Marketing in "M": "I think it's important to get the 'troubadours' into the title. That's a 'buy-me' word." In "G": "Olga asked Allen Ginsberg if he was also buying Pound Conference T-shirts for his grandchildren. She was most lovable throughout." In "L": "Wyndham Lewis wrote 'Why don't you stop New Directions, your books are crap.'" And we find love in "L": "Cicero noted that an old love pinches like a crab." But in The Way It Wasn't James Laughlin's love of the crazy world and his crazier authors does not pinch a bit: it glows with wit and enlarges our feeling for the late great twentieth century.

The long-awaited memoirs of New Directions' founder. James Laughlin, the late founder and publisher of New Directions, was also a poet of elegance and distinction. At his death in 1997 at the age of eighty-three, he left unfinished his long autobiographical poem, Byways. It is no exaggeration to say that his publishing house, which he began in 1936 while still an undergraduate at Harvard, changed the way Americans read and write serious literature. Yet the man who published some of the greatest writers of the twentieth century remained resistant for most of his life to the memoiristic impulse. In the end he found his autobiographical voice by adopting the swift-moving line of Kenneth Rexroth's booklength philosophical poem, The Dragon and the Unicorn (1952). Byways weaves together family history (the Laughlins were wealthy Pittsburgh steel magnates), the poet's early memories and travels in Europe and America with his playboy father, his years at Harvard, first meetings with Pound, the beginning of his publishing venture, his reminiscences of close friendships with writers including W.C. Williams, Thomas Merton, and Kenneth Rexroth, his postwar work in Europe and Asia with the Ford Foundation as publisher of its international literary magazine, Perspectives, and not least, his many early loves.

James Laughlin has been called the American Catullus. Like that most Greek of ancient Latin poets, he elevated his everyday subjects with wit and clarity of language. Love and hate, death and aging, politics, literature, travel, the horrors of war--Laughlin's muse spoke of all these things with a fresh directness that make his poems both timeless and contemporary. The founder of New Directions, Laughlin's efforts as publisher and poet had been to prolong and extend the old poetic traditions. Poetry for him was, in Gertrude Stein's phrase, a "continuous present" in all times and cultures. Laughlin developed his distinctive tight metrics with the advice of William Carlos Williams. A longer, comical line is found in the recent poems of Laughlin's cheeky doppelganger, Hiram Handspring.

James Laughlin has been called the American Catullus. Like that most Greek of ancient Latin poets, he elevated his everyday subjects with wit and clarity of language. Love and hate, death and aging, politics, literature, travel, the horrors of war--Laughlin's muse spoke of all these things with a fresh directness that make his poems both timeless and contemporary. The founder of New Directions, Laughlin's efforts as publisher and poet had been to prolong and extend the old poetic traditions. Poetry for him was, in Gertrude Stein's phrase, a "continuous present" in all times and cultures. Laughlin developed his distinctive tight metrics with the advice of William Carlos Williams. A longer, comical line is found in the recent poems of Laughlin's cheeky doppelganger, Hiram Handspring.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

Since 1936, the New Directions anthologies have served as vehicles for the presentation of new and variant trends in world literature. This fifty-third anthology series draws on authors from countries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

The contents, lively and varied as always, of this year's New Directions Annual, the twenty-second in the series which began in 1936, range from the topical, in an impressive new poem by Ferlinghetti on The Enigma of Ho Chi Minh's Funeral, to one of the important source texts of the modern literary movement, a translation by David Harris of Gottfried Benn's "play of ideas," The Voice behind the Curtain. Once again, the Annual is international: Stephen Stepanchev has translated a group of poems by the Yugoslavian poet Vasko Popa; Samuel Grolmes and Yumiko Tsumura present the Japanese poet Ryuichi Tamura; Dennis Silk (Israel) blends parody and fantasy in the prose "journey," Montefiore; there is a scene from the play Sunday They'll Make Me a Saint by the Greek-American writer Demetrius Toteras; and from Britain we have Stuart Montgomery's verse sequence, Circe, a section of photographs of the concrete poetry of Ian Hamilton Finlay (Scotland) and a group of drawings by the poet Charles Tomlinson. Three of the young American poets in ND22 are active in the Black movement: Ed Roberson, Quincy Troupe and Al Young. Richard Meyers is a promising discovery, and we welcome Robert Lowry again with a fine poem. Of exceptional interest this year are the stories of Paul Breslow, Carol Emshwiller, Paul Friedman, James B. Hall and Mark Jay Mirsky.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

This anthology series draws on authors fromcountries across the world and features selections of the finest new prose and poetry.

Four decades of correspondence of Tennessee Williams's and James Laughlin's unlikely yet enduring literary and personal relationship.

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

A sparkling, lively record of a remarkable author/publisher relationship.

Correspondence between author Rexroth, a "presiding figure of the San Francisco Renaissance," and publisher Laughlin, spanning forty years. Introduction, notes on the text, select bibliography, index. Errata sheet laid in.

As a poet, the late James Laughlin (1914-1997) was perhaps best known for his love lyrics. Marjorie Perloff has written, "Who else . . . writes such bittersweet, ironic, rueful, erotic, toughminded, witty love poems, poems that run the gamut from ecstasy to loss?" Andrei Codrescu wrote, "Under deep cover as Godfather of Modernism, James Laughlin has secretly raised and made himself into the Poetry Chieftain of Sane Eros, the Catullus of fin-de-siecle America." This small paperback edition of his finest love poems is a perfect memorial to one of the twentieth century's most important men of letters.

Here follows the highs and lows of a relationship between two extraordinary personalities.

James Laughlin-poet, ladies' man, heir to a steel fortune, and the founder of New Directions-was still at work on his autobiography when he died at 83. He left behind personal files crammed with memories and memorabilia: in "M" he is taking Marianne Moore to Yankee games (outings captured here in charming snapshots) to discuss "arcane mammals," and in "N" nearly plunging off a mountain, hunting butterflies with Nabokov ("Volya was a doll in a very severe upper-crust Russian way").With an accent on humor, The Way It Wasn't is a scrapbook loaded with ephemera-letters and memories, clippings and photographs. This richly illustrated album glitters like a magpie's nest, if a magpie could have known Tennessee Williams, W.C. Williams, Merton, Miller, Stein, and Pound. In "C": "I wish that nice Jean Cocteau were still around. He took me to lunch at the Grand Véfours in the Palais-Royal and explained all about flying saucers. He understood mechanical things. He would advise me." In "P": "There was not much 'gracious living' in Pittsburgh, where at one house, the butler passed chewing gum on a silver salver after coffee." And: "The world is full of a large number of irritating people." In "H" there's Lillian Hellman: "What a raspy character. When I knocked at her door to try to borrow one of her books (hoping to butter her up) she only opened her door four inches and said words to the effect: 'Fuck off, you rapist.'" Marketing in "M": "I think it's important to get the 'troubadours' into the title. That's a 'buy-me' word." In "G": "Olga asked Allen Ginsberg if he was also buying Pound Conference T-shirts for his grandchildren. She was most lovable throughout." In "L": "Wyndham Lewis wrote 'Why don't you stop New Directions, your books are crap.'" And we find love in "L": "Cicero noted that an old love pinches like a crab." But in The Way It Wasn't James Laughlin's love of the crazy world and his crazier authors does not pinch a bit: it glows with wit and enlarges our feeling for the late great twentieth century.

Ezra Pound and James Laughlin: Selected Letters is a modernist source book - essential reading for anyone interested in tracing the real development of twentieth-century literature.