Winner of the 2020 Helen and Kurt Wolff Translation PrizeThe Fox and Dr. Shimamura toothsomely encompasses East and West, memory and reality, fox-possession myths, and psychiatric mythmaking. As an outstanding young Japanese medical student at the end of the nineteenth century, Dr. Shimamura is sent-to his dismay-to the provinces: he is asked to cure scores of young women afflicted by an epidemic of fox possession. Believing it's all a hoax, he considers the assignment an insulting joke, until he sees a fox moving under the skin of a young beauty... Next he travels to Europe and works with such luminaries as Charcot, Breuer and Freud-whose methods, Dr. Shimamura concludes, are incompatible with Japanese politeness. The ironic parallels between Charcot's theories of female hysteria and ancient Japanese fox myths-when it comes to beautiful, writhing young women-are handled with a lightly sardonic touch by Christine Wunnicke, whose flavor-packed, inventive language is a delight.
Ismail, the profesor, is a retired teacher in a small Colombian town where he passes the days pretending to pick oranges while spying on his neighbor Geraldina as she lies naked in the shade of a ceiba tree on a red floral quilt. The garden burns with sunlight; the macaws laugh sweetly. Otilia, Ismail's wife, is ashamed of his peeping and suggests that he pay a visit to Father Albornoz. Instead, Ismail wanders the town visiting old friends, plagued by a tangle of secret memories: Where have I existed these years? I answer myself: up on the wall, peering over. When the armies slowly arrive, the profesor's reveries are gradually taken over by a living hell. His wife disappears and he must find her. We learn that not only gentle, grassy hillsides surround San José but landmines and coca fields. The reader is soon engulfed by the violence of Rosero's narrative that is touched not only with a deep sadness, but an extraordinary tenderness.
In this day of mindless distraction, we're desperate for reasons to put down our phones and reconnect with our spiritual selves. In time for the 50th anniversary of Thomas Merton's death in 1968, Silence, Joy is an invitation to slow down, take a breath, make a space for silence, and open up to joy.Poet, monk, spiritual advisor, and social critic, Thomas Merton is a unique-and uniquely beloved-figure of the twentieth century, and this little rosary brings together his best-loved poems and prose. Drawn from classics like New Seeds Of Contemplation and The Way Of Chuang Tzu as well as less famous books, the writings in Silence, Joy offer the reader deep, calming stillness, flights of ecstatic praise, steadying words of wisdom, and openhearted laughter. Manna for Merton lovers and a warm embrace for novices, this slim collection is a delightful gift.
The Doctor Stories collects thirteen of Williams's stories (direct accounts of his experiences as a doctor), six related poems, and a chapter from his autobiography that connects the world of medicine and writing, as well as a new preface by Atul Gawande, an introduction by Robert Coles (who put the book together), and a final note by Williams's son (also a doctor), about his famous father. The writings are remarkably direct and freshly true. As Atul Gawande notes, "Reading these tales,you find yourself in a conversation with Williams about who people really are-who you really are. Williams recognized that, caring for the people of his city, he had a front-row seat to the human condition. His writing makes us see it and hear it and grapple with it in all its complexities. That is his lasting gift."
Who doesn't love haiku? It is not only America's most popular cultural import from Japan but also our most popular poetic form: instantly recognizable, more mobile than a sonnet, loved for its simplicity and compression, as well as its ease of composition. Haiku is an ancient literary form seemingly made for the Twittersphere-Jack Kerouac and Langston Hughes wrote them, Ezra Pound and the Imagists were inspired by them, Hallmark's made millions off them, first-grade students across the country still learn to write them. But what really is a haiku? Where does the form originate? Who were the original Japanese poets who wrote them? And how has their work been translated into English over the years? The haiku form comes down to us today as a cliché: a three-line poem of 5-7-5 syllables. And yet its story is actually much more colorful and multifaceted. And of course to write a good one can be as difficult as writing a Homeric epic-or it can materialize in an instant of epic inspiration.In On Haiku, Hiroaki Sato explores the many styles and genres of haiku on both sides of the Pacific, from the classical haiku of Basho, Issa, and Zen monks, to modern haiku about swimsuits and atomic bombs, to the haiku of famous American writers such as J. D. Salinger and Allen Ginsburg. As if conversing over beers in your favorite pub, Sato explains everything you wanted to know about the haiku in this endearing and pleasurable book, destined to be a classic in the field.
The Condition of Secrecy is a poignant collection of essays by Inger Christensen, widely regarded as one of the most influential Scandinavian writers of the twentieth century. As The New York Times proclaimed, "Despite the rigorous structure that undergirds her work-or more likely, because of it-Ms. Christensen's style is lyrical, even playful." The same could be said of Christensen's essays. Here, she formulates with increasing clarity the basis of her approach to writing, and provides insights into how she composed specific poetry volumes. Some essays are autobiographical (with memories of Christensen's school years during the Nazi occupation of Denmark), and others are political, touching on the Cold War and Chernobyl. The Condition of Secrecy also covers the Ars Poetica of Lu Chi (261-303 CE); William Blake and Isaac Newton; and such topics as randomness as a universal force and the role of the writer as an agent of social change. The Condition of Secrecy confirms that Inger Christensen is "a true singer of the syllables" (C. D. Wright), and "a formalist who makes her own rules, then turns the game around with another rule" (Eliot Weinberger).
In 1506, Michelangelo-a young but already renowned sculptor-is invited by the Sultan of Constantinople to design a bridge over the Golden Horn. The sultan has offered, alongside an enormous payment, the promise of immortality, since Leonardo da Vinci's design had been rejected: "You will surpass him in glory if you accept, for you will succeed where he has failed, and you will give the world a monument without equal."Michelangelo, after some hesitation, flees Rome and an irritated Pope Julius II-whose commission he leaves unfinished-and arrives in Constantinople for this truly epic project. Once there, he explores the beauty and wonder of the Ottoman Empire, sketching and describing his impressions along the way, and becomes immersed in cloak-and-dagger palace intrigues as he struggles to create what could be his greatest architectural masterwork.Tell Them of Battles, Kings, and Elephants-constructed from real historical fragments-is a story about why stories are told, why bridges are built, and how seemingly unmatched pieces, seen from the opposite sides of civilization, can mirror one another.
Gathered here are the gems of William Carlos Williams's astonishing achievements in poetry. Dramatic, energetic, beautiful, and true, this slim selection will delight any reader-The Red Wheelbarrow & Other Poems is a book to be treasured.
The Shutters collects the two most important poetry collections-"The Shutters" and "Photograms"-by the legendary Moroccan writer Ahmed Bouanani. By intertwining myth and tradition with the familiar objects and smells of his lived present, Bouanani reconstructs vivid images of Morocco's past. He weaves together references to the Second World War, the Spanish and French protectorates, the Rif War, dead soldiers, prisoners, and poets screaming in their tombs with mouths full of dirt. His poetry, written in an imposed language with a "strange alphabet," bravely confronts the violence of his country's history-particularly during the period of les années de plomb, the years of lead-all of which bears the brutal imprint of colonization. As Bouanani writes, "These memories retrace the seasons of a country that was quickly forgetful of its past, indifferent to its present, constantly turning its back on the future."
The Galloping Hour: French Poems-never before rendered in English and unpublished during her lifetime-gathers for the first time all the poems that Alejandra Pizarnik (revered by Octavio Paz and Roberto Bolano) wrote in French. Conceived during her Paris sojourn (1960-1964) and in Buenos Aires (1970-1971) near the end of her tragically short life, these poems explore many of Pizarnik's deepest obsessions: the limitation of language, silence, the body, night, sex, and the nature of intimacy.Drawing from personal life experiences and echoing readings of some of her beloved/accursed French authors-Charles Baudelaire, Germain Nouveau, Arthur Rimbaud, and Antonin Artaud-this collection includes prose poems that Pizarnik would later translate into Spanish. Pizarnik's work led Raúl Zurita to note: "Her poetry-with a clarity that becomes piercing-illuminates the abysses of emotional sensitivity, desire, and absence. It presses against our lives and touches the most exposed, fragile, and numb parts of humanity."
A professor prepares to retire-Gustavo is set to move from Sao Paulo to the countryside, but it isn't the urban violence he's fleeing: what he fears most is the violence of his memory. But as he sorts out his papers, the ghosts arrive in full force. He was arrested in 1970 with his brother-in-law Armando: both were vicariously tortured. He was eventually released; Armando was killed. No one is certain that he didn't turn traitor: I didn't talk, he tells himself, yet guilt is his lifelong harvest. I Didn't Talk pits everyone against the protagonist-especially his own brother. The torture never ends, despite his bones having healed and his teeth having been replaced. And to make matters worse, certain details from his shattered memory don't quite add up... Beatriz Bracher depicts a life where the temperature is lower, there is no music, and much is out of view. I Didn't Talk's pariah's-eye-view of the forgotten "small" victims powerfully bears witness to their "internal exile." I didn't talk, Gustavo tells himself; and as Bracher honors his endless pain, what burns this tour de force so indelibly in the reader's mind is her intensely controlled voice.
Drawing from his experience as a translator, Forrest Gander includes in the first, powerfully elegiac section a version of a poem by the Spanish mystical poet St. John of the Cross. He continues with a long multilingual poem examining the syncretic geological and cultural history of the U.S. border with Mexico. The poems of the third section-a moving transcription of Gander's efforts to address his mother dying of Alzheimer's-rise from the page like hymns, transforming slowly from reverence to revelation. Gander has beencalled one of our most formally restless poets, and these new poems express a characteristically tensile energy and, as one critic noted, "the most eclectic diction since Hart Crane."
"When I walked through the large iron gate of the hospital, I must have still been alive..." So begins Ahmed Bouanani's arresting, hallucinatory 1989 novel The Hospital, appearing for the first time in English translation. Based on Bouanani's own experiences as a tuberculosis patient, the hospital begins to feel increasingly like a prison or a strange nightmare: the living resemble the dead; bureaucratic angels of death descend to direct traffic, claiming the lives of a motley cast of inmates one by one; childhood memories and fantasies of resurrection flash in and out of the narrator's consciousness as the hospital transforms before his eyes into an eerie, metaphorical space. Somewhere along the way, the hospital's iron gate disappears.Like Sadegh Hedayat's The Blind Owl, the works of Franz Kafka-or perhaps like Mann's The Magic Mountain thrown into a meat-grinder-The Hospital is a nosedive into the realms of the imagination, in which a journey to nowhere in particular leads to the most shocking places.
Japan, after suffering from a massive irreparable disaster, cuts itself off from the world. Children are so weak they can barely stand or walk: the only people with any get-go are the elderly. Mumei lives with his grandfather Yoshiro, who worries about him constantly. They carry on a day-to-day routine in what could be viewed as a post-Fukushima time, with all the children born ancient-frail and gray-haired, yet incredibly compassionate and wise. Mumei may be enfeebled and feverish, but he is a beacon of hope, full of wit and free of self-pity and pessimism. Yoshiro concentrates on nourishing Mumei, a strangely wonderful boy who offers "the beauty of the time that is yet to come."A delightful, irrepressibly funny book, The Emissary is filled with light. Yoko Tawada, deftly turning inside-out "the curse," defies gravity and creates a playful joyous novel out of a dystopian one, with a legerdemain uniquely her own.
Across the ages, cats have provided their adopted humans with companionship, affection, mystery and innumerable metaphors; cats cast a mirror on their beholders; cats endlessly captivate and hypnotise, frustrate and delight. And to poets, in particular, these enigmatic creatures are the most delightful and beguiling of muses (Charles Baudelaire: "the sole source of amusement in one's lodgings") as they go about purring, prowling, hunting, playing, meowing and napping, often oblivious to their so-called masters (Jorge Luis Borges: "you live in other time, lord of your realm-a world as closed and separate as a dream").Cat Poems offers a litter of odes to our beloved felines by Charles Baudelaire, Stevie Smith, Christopher Smart, Denise Levertov, Lawrence Ferlinghetti, Rainer Maria Rilke, Muriel Spark, William Carlos Williams, Ezra Pound and many others.
Combining fact and fiction, each of the one hundred and two tales of Alexander Kluge's Temple of the Scapegoat (dotted with photos of famous operas and their stars) compresses a lifetime of feeling and thought: Kluge is deeply engaged with the opera and an inventive wellspring of narrative notions. The titles of his stories suggest his many turns of mind: "Total Commitment," "Freedom," "Reality Outrivals Theater," "The Correct Slowing-Down at the Transitional Point Between Terror and an Inkling of Freedom," "A Crucial Character (Among Persons None of Whom Are Who They Think They Are)," and "Deadly Vocal Power vs. Generosity in Opera." An opera, Kluge says, is a blast furnace of the soul, telling of the great singer Leonard Warren who died onstage, having literally sung his heart out. Kluge introduces a Tibetan scholar who realizes that opera "is about comprehension and passion. The two never go together. Passion overwhelms comprehension. Comprehension kills passion. This appears to be the essence of all operas, says Huang Tse-we." He also comes to understand that female roles face the harshest fates: "Compared to the mass of soprano victims (out of 86,000 operas, 64,000 end with the death of the soprano), the sacrifice of tenors is small (out of 86,000 operas 1,143 tenors are a write-off)."
The Desert and Its Seed opens with a taxi ride to the hospital: Eligia's face is disintegrating from acid thrown by her ex-husband while they signed divorce papers. Mario, her son, tries to wipe the acid from Eligia's face, but his own fingers burn.What follows is a fruitless attempt to reconstruct Eligia's face-first in Buenos Aires, thereafter in Milan. Mario, the narrator, becomes the shadow and witness of the reconstruction attempts to repair his mother's outraged flesh. In this role, he must confront his own terrible existence and identity, both of which are bound to an Argentina he sees disintegrating around him.Based on a true, tragic family story, Jorge Barón Biza's The Desert and Its Seed was rejected by publishers in Buenos Aires and was finally self-published in 1998, three years before the author committed suicide. Written in a captivating plain style with dark, bitter humor, The Desert and Its Seed has become a modern classic, published to enormous acclaim throughout the Spanish-speaking world and translated into many languages.
the people, the boats completely gone with the tsunami / tonight you would not be able to sleep -from Sea, Land, ShadowSea, Land, Shadow, the fourth collection by Kazuko Shiraishi to be published by New Directions, comprises work written over sixty-years, from 1951 to 2015. Shiraishi, described by Donald Keene as "the outstanding poetic voice of her generation of disengagement in Japan," sees the world in a grain of rice and finds poetry in a mountain-road traffic jam. In the haunting title poem, she visits Iwanuma not long after the disastrous tsunami hit in 2011 and finds "no houses but a place where houses had been." This pamphlet also includes a long, lyrical homage to Yukio Mishima, as well as playful and profound meditations on a Roman condom, lizard god, god of war, and an ear.
The Objectivist Press published George Oppen's first book Discrete Series, a collection of thirty-one short poems with a preface by Ezra Pound, in 1934. Four years earlier, the twenty-one-year-old poet had sent an unbound sheaf of typewritten poems with the title 21 Poems hand-written in pencil on the first page to the poet Louis Zukofsky, who forwarded them on to Pound in Paris. These poems, suffused with Oppen's love for his young bride Mary, as well as his love of sailing, are strikingly different from what they'd eventually become in Discrete Series. The scholar David B. Hobbs recently found 21 Poems buried in Ezra Pound's papers at Yale's Beinecke Library, and they appear here as a collection of their own for the first time.
A collection in five parts, Susan Howe's electrifying new book opens with a preface by the poet that lays out some of Debths' inspirations: the art of Paul Thek, the Isabella Stewart Gardner collection, and early American writings; and in it she also addresses memory's threads and galaxies, "the rule of remoteness," and "the luminous story surrounding all things noumenal."Following the preface are four sections of poetry: "Titian Air Vent," "Tom Tit Tot" (her newest collage poems), "Periscope," and "Debths." As always with Howe, Debths brings "a not-being-in-the-no."
What does northness sound like? The music of Iceland, Greenland, the Svalbard archipelago. Songs of birds and ice and wind. In Lesley Harrison's Blue Pearl, her first collection to appear in the United States, northern landscapes come alive through an intimacy of language that forms a collective sense of place through weather, history, local myths and customs, and childhood fairy tales. Dogs on the shale, eels in the current, a ship strains as it's pulled up by a needle, a whaler unwinds the skin-Harrison's poems voyage forth with visible breath, "as snow falls as light is in paper."
The Illustrious House of Ramires, presented here in a sparkling new translation by Margaret Jull Costa, is the favorite novel of many Eça de Queirós aficionados. This late masterpiece, wickedly funny and yet profoundly tender, centers on Gonçalo Ramires, heir to a family so aristocratic that it predates even the kings of Portugal. Gonçalo-charming but disastrously effete, idealistic but hopelessly weak-muddles through his pampered life, burdened by a grand ambition. He is determined to write a great historical novel based on the heroic deeds of his fierce medieval ancestors. But "the record of their valor," as The London Spectator remarked, "is ironically counterpointed by his own chicanery. A combination of Don Quixote and Walter Mitty, Ramires is continually humiliated but at the same time kindhearted. Ironic comedy is the keynote of the novel. Eça de Queirós has justly been compared with Flaubert and Stendhal."
Gondwana: an ancient supercontinent long-dispersed into fragments in the Southern Hemisphere. Contemplating this once-massive landmass at the the end of the world while looking out at the ethereal blue ice of Antarctica, Nathaniel Tarn writes: "They said back then / there was a frozen continent / in those high latitudes encircling the globe: /are you moving toward it?" The various parts of Gondwana cohere into a unified whole that celebrates bird flight, waves, and innervating light while warning against environmental calamity. Some poems celebrate the New Mexican desert as it becomes a place of protest against the invasion of Afghanistan; in another, the rising and falling stairs at Fez in Morocco meld into a meditation on marriage, empire, and the origins of climbing. Elsewhere the heroic fighter pilot Lydia Litvyak is personified as Eurydice speaking to her Captain as Orpheus; and in the final long section, "Exitus Generis Humani," lines pour over the reader in slow, mournful, yet often humorous, song, revealing "the poets' hearts are a world's heart" as the human race ends and whole armies sink into the earth "yearning for mother love." Celebrated as a poet where "inquiry and ethical action are imperative" (Joseph Donahue, Jacket2), Nathaniel Tarn has lifted up a mind-heart mirror of our contemporary existence in Gondwana and warns us of a definitive ending if we do not demand radical change.
A unique and personal portrait of the beloved, legendary Swiss writer, finally in English
The Complete Poems of Li Ch'ing-chao (1084-c. 1151) brings together for the first time in English translation all the surviving verse of China's greatest woman poet.
In Cape of Storms, Nina Berberova portrays a very specific generation--one born in Russia, displaced by the Revolution, and trying to adapt to a new home, Paris. Three sisters--Dasha, Sonia, and Zai--share the same father, Tiagen, an attractive, weak-willed, womanizing White Russian, but each thinks differently about her inner world of beliefs and aspirations, and consequently each follows a different path. Dasha marries and leaves for a bourgeois expatriate life in colonial Africa. Zai, the youngest, and an appealing adolescent, flirts with becoming an actress or a poet. Sonia, the middle daughter, completes a university degree but falls victim to a shocking tragedy. Cape of Storms is a shattering book that opens with a hair-raising scene in which Dasha witnesses her mother's murder at the hands of Bolshevik thugs, and ends with the Blitzkrieg sweeping toward Paris. It is unparalleled in Berberova's work for its many shifts of mood and viewpoint and secures the author's place as "Chekhov's most vital inheritor" (Boston Review).
Gennady Aygi's longtime translator and friend Peter France has compiled this moving collection of tributes dedicated to some of the writers and artists who sustained him while living in the Moscow "underground." Written in a quiet intensely expressive poetic style, Aygi's inventive essays blend autobiography with literary criticism, social commentary, nature writing, and enlightening homage. He addresses such literary masters as Pasternak, Kafka, Mayakovsky, Celan, and Tomas Tranströmer, along with other writers from the Russian avant-garde and his native Chuvashia. Related poems by Aygi are also threaded between the essays. Reminiscent of Mandelstam's elliptical travel musings and Kafka's intensely spiritual jottings in his notebooks, Time of Gratitude glows with the love and humanity of a sacred vocation. "These leaves of paper," Aygi says, 'are swept up by the whirlwind of festivity; everything whirls-from Earth to Heaven-and perhaps the Universe too begins to swirl. Everything flows together in the rainbow colors and lights of the infinite world of Poetry.'
At last, just in time for his 99th birthday, a powerful overview of one of America's most beloved poets: New Directions is proud to present a swift, terrific chronological selection of Ferlinghetti's poems, spanning more than six decades of work and presenting one of modern poetry's greatest achievements.
Anne Carson writes, "Euripides was a playwright of the fifth century BC who reinvented Greek tragedy, setting it on a path that leads straight to reality TV. His plays broke all the rules, upended convention and outraged conservative critics. The Bakkhai is his most subversive play, telling the story of a man who cannot admit he would rather live in the skin of a woman, and a god who seems to combine all sexualities into a single ruinous demand for adoration. Dionysos is the god of intoxication. Once you fall under his influence, there is no telling where you will end up."
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