Böcker utgivna av Farrar, Straus and Giroux

Marianne Moore's Observations stands with T. S. Eliot's The Waste Land, Ezra Pound's early Cantos, and Wallace Stevens's Harmonium as a landmark of modern poetry. But to the chagrin of many admirers, Moore eliminated a third of its contents from her subsequent poetry collections while radically revising some of the poems she retained. This groundbreaking book has been unavailable to the general reader since its original publication in the 1920s.Presented with a new introduction by Linda Leavell, the author of the award-winning biography Holding On Upside Down: The Life and Work of Marianne Moore, this reissue of Observations at last allows readers to experience the untamed force of Moore's most dazzling innovations. Her fellow modernists were thrilled by her originality, her "e;clear, flawless"e; language--to them she was "e;a rafter holding up . . . our uncompleted building."e; Equally forceful for subsequent generations, Observations was an "e;eye-opener"e; to the young Elizabeth Bishop, its poems "e;miracles of language and construction."e; John Ashbery has called "e;An Octopus"e; the finest poem of "e;our greatest modern poet."e; Moore's heroic open-mindedness and prescient views on multiculturalism, biodiversity, and individual liberty make her work uniquely suited to our times.Impeccably precise yet playfully elusive, emotionally complex but stripped of all sentiment, the poems in Observations show us one of America's greatest poets at the height of her powers.

The story of four modern American Catholics who made literature out of their search for GodIn the mid-twentieth century four American Catholics came to believe that the best way to explore the questions of religious faith was to write about them-in works that readers of all kinds could admire. The Life You Save May Be Your Own is their story-a vivid and enthralling account of great writers and their power over us.Thomas Merton was a Trappist monk in Kentucky; Dorothy Day the founder of the Catholic Worker in New York; Flannery O'Connor a "e;Christ-haunted"e; literary prodigy in Georgia; Walker Percy a doctor in New Orleans who quit medicine to write fiction and philosophy. A friend came up with a name for them-the School of the Holy Ghost-and for three decades they exchanged letters, ardently read one another's books, and grappled with what one of them called a "e;predicament shared in common."e;A pilgrimage is a journey taken in light of a story; and in The Life You Save May Be Your Own Paul Elie tells these writers' story as a pilgrimage from the God-obsessed literary past of Dante and Dostoevsky out into the thrilling chaos of postwar American life. It is a story of how the Catholic faith, in their vision of things, took on forms the faithful could not have anticipated. And it is a story about the ways we look to great books and writers to help us make sense of our experience, about the power of literature to change-to save-our lives.

I have sat and listened to too manywords of the collaborating muse,and plotted perhaps too freely with my life,not avoiding injury to others,not avoiding injury to myself-to ask compassion . . . this book, half fiction,an eelnet made by man for the eel fightingmy eyes have seen what my hand did.Winner of the 1974 Pulitzer Prize in Poetry, The Dolphin was controversial from the beginning: many of the poems include the letters that Robert Lowell's wife, the celebrated writer and critic Elizabeth Hardwick, wrote to him after he left her for the English socialite and writer Caroline Blackwood. He was warned by many, among them Elizabeth Bishop, that "e;art just isn't worth that much."e; Nevertheless, these poems are a powerful document of an impulsive love, and a moving record of Lowell's change from one life and marriage in America to a new life on new terms with a new family in England, rendered with the stunning technical power and control for which he was so celebrated. This new edition, which follows the 1973 edition, includes scans of the pages of Lowell's original manuscript, giving us a look into the brilliant and complicated mind of one of our most beloved and distinguished poets.

One of The Telegraph's Best Music Books 2011 We live in a pop age gone loco for retro and crazy for commemoration. Band re-formations and reunion tours, expanded reissues of classic albums and outtake-crammed box sets, remakes and sequels, tribute albums and mash-ups . . . But what happens when we run out of past? Are we heading toward a sort of culturalecological catastrophe where the archival stream of pop history has been exhausted? Simon Reynolds, one of the finest music writers of his generation, argues that we have indeed reached a tipping point, and that although earlier eras had their own obsessions with antiquity-the Renaissance with its admiration for Roman and Greek classicism, the Gothic movement's invocations of medievalism-never has there been a society so obsessed with the cultural artifacts of its own immediate past. Retromania is the first book to examine the retro industry and ask the question: Is this retromania a death knell for any originality and distinctiveness of our own?

This version of Frank Wedekind's extraordinary play Spring Awakening was specially commissioned by the Royal Shakespeare Company. The themes it addresses and the sheer energy of the writing make this masterpiece of German symbolism startlingly relevant today.With its scenes of pubescent angst, sexual outspokenness, rape and homosexuality, the play still, more than one hundred years after it was first staged, has the power to shock. Ted Hughes's rendition lends the dialogue a particularly modern terseness and bite, drawing out all the erotic energy of the original.

Now substantially revised by Edward Snow, whom Denise Levertov once called "e;far and away Rilke's best translator,"e; this bilingual edition of The Book of Images contains a number of the great poet's previously untranslated pieces. Also included are several of Rilke's best-loved lyrics, such as "e;Autumn,"e; "e;Childhood,"e; "e;Lament,"e; "e;Evening,"e; and "e;Entrance."e;

In The Beats: A Graphic History, those who were mad to live have come back to life through artwork as vibrant as the Beat movement itself. Told by the comic legend Harvey Pekar, his frequent artistic collaborator Ed Piskor, and a range of artists and writers, including the feminist comic creator Trina Robbins and the Mad magazine artist Peter Kuper, The Beats takes us on a wild tour of a generation that, in the face of mainstream American conformity and conservatism, became known for its determined uprootedness, aggressive addictions, and startling creativity and experimentation.What began among a small circle of friends in New York and San Francisco during the late 1940s and early 1950s laid the groundwork for a literary explosion, and this striking anthology captures the storied era in all its incarnations-from the Benzedrine-fueled antics of Kerouac, Ginsberg, and Burroughs to the painting sessions of Jay DeFeo's disheveled studio, from the jazz hipsters to the beatnik chicks, from Chicago's College of Complexes to San Francisco's famed City Lights bookstore. Snapshots of lesser-known poets and writers sit alongside frank and compelling looks at the Beats' most recognizable faces. What emerges is a brilliant collage of-and tribute to-a generation, in a form and style that is as original as its subject.

In The Improbability Principle, the renowned statistician David J. Hand argues that extraordinarily rare events are anything but. In fact, they're commonplace. Not only that, we should all expect to experience a miracle roughly once every month. But Hand is no believer in superstitions, prophecies, or the paranormal. His definition of "miracle" is thoroughly rational. No mystical or supernatural explanation is necessary to understand why someone is lucky enough to win the lottery twice, or is destined to be hit by lightning three times and still survive. All we need, Hand argues, is a firm grounding in a powerful set of laws: the laws of inevitability, of truly large numbers, of selection, of the probability lever, and of near enough. Together, these constitute Hand's groundbreaking Improbability Principle. And together, they explain why we should not be so surprised to bump into a friend in a foreign country, or to come across the same unfamiliar word four times in one day. Hand wrestles with seemingly less explicable questions as well: what the Bible and Shakespeare have in common, why financial crashes are par for the course, and why lightning does strike the same place (and the same person) twice. Along the way, he teaches us how to use the Improbability Principle in our own lives-including how to cash in at a casino and how to recognize when a medicine is truly effective. An irresistible adventure into the laws behind "chance" moments and a trusty guide for understanding the world and universe we live in, The Improbability Principle will transform how you think about serendipity and luck, whether it's in the world of business and finance or you're merely sitting in your backyard, tossing a ball into the air and wondering where it will land.

It is the astonishment of Louise Gluck's poetry that it resists collection. With each successive book her drive to leave behind what came before has grown more fierce, the force of her gaze fixed on what has yet to be imagined. She invented a form to accommodate this need, the book-length sequence of poems, like a landscape seen from above, a novel with lacunae opening onto the unspeakable. The reiterated yet endlessly transfigured elements in this landscape-Persephone, a copper beech, a mother and father and sister, a garden, a husband and son, a horse, a dog, a field on fire, a mountain-persistently emerge and reappear with the dark energy of the inevitable, shot through with the bright aspect of things new-made. From the outset ("e;Come here / Come here, little one"e;), Gluck's voice has addressed us with deceptive simplicity, the poems in lines so clear we "e;do not see the intervening fathoms."e; From within the earth'sbitter disgrace, coldness and barrennessmy friend the moon rises: she is beautiful tonight, but when is she not beautiful?To read these books together is to understand the governing paradox of a life lived in the body and of the work wrested from it, the one fated to die and the other to endure.

Named A Best Book of 2011 by the New York Times, Time Magazine, the Boston Globe and Entertainment WeeklyA sharp-eyed, uniquely humane tour of America's cultural landscape-from high to low to lower than low-by the award-winning young star of the literary nonfiction world.In Pulphead, John Jeremiah Sullivan takes us on an exhilarating tour of our popular, unpopular, and at times completely forgotten culture. Simultaneously channeling the gonzo energy of Hunter S. Thompson and the wit and insight of Joan Didion, Sullivan shows us-with a laidback, erudite Southern charm that's all his own-how we really (no, really) live now. In his native Kentucky, Sullivan introduces us to Constantine Rafinesque, a nineteenth-century polymath genius who concocted a dense, fantastical prehistory of the New World. Back in modern times, Sullivan takes us to the Ozarks for a Christian rock festival; to Florida to meet the alumni and straggling refugees of MTV's Real World, who've generated their own self-perpetuating economy of minor celebrity; and all across the South on the trail of the blues. He takes us to Indiana to investigate the formative years of Michael Jackson and Axl Rose and then to the Gulf Coast in the wake of Katrina-and back again as its residents confront the BP oil spill. Gradually, a unifying narrative emerges, a story about this country that we've never heard told this way. It's like a fun-house hall-of-mirrors tour: Sullivan shows us who we are in ways we've never imagined to be true. Of course we don't know whether to laugh or cry when faced with this reflection-it's our inevitable sob-guffaws that attest to the power of Sullivan's work.

One of The Economist's 2011 Books of the Year From the author of Either/Or and The Idiot, Elif Batuman's The Possessed presents the true but unlikely stories of lives devoted-Absurdly! Melancholically! Beautifully!-to the Russian Classics. No one who read Batuman's first article (in the journal n+1) will ever forget it. "Babel in California" told the true story of various human destinies intersecting at Stanford University during a conference about the enigmatic writer Isaac Babel. Over the course of several pages, Batuman managed to misplace Babel's last living relatives at the San Francisco airport, uncover Babel's secret influence on the making of King Kong, and introduce her readers to a new voice that was unpredictable, comic, humane, ironic, charming, poignant, and completely, unpretentiously full of love for literature. Batuman's subsequent pieces-for The New Yorker, Harper's Magazine, and the London Review of Books- have made her one of the most sought-after and admired writers of her generation, and its best traveling companion. In The Possessed we watch her investigate a possible murder at Tolstoy's ancestral estate. We go with her to Stanford, Switzerland, and St. Petersburg; retrace Pushkin's wanderings in the Caucasus; learn why Old Uzbek has one hundred different words for crying; and see an eighteenth-century ice palace reconstructed on the Neva. Love and the novel, the individual in history, the existential plight of the graduate student: all find their place in The Possessed. Literally and metaphorically following the footsteps of her favorite authors, Batuman searches for the answers to the big questions in the details of lived experience, combining fresh readings of the great Russians, from Pushkin to Platonov, with the sad and funny stories of the lives they continue to influence-including her own.