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James Laughlin (1914-97) was a poet of distinction as well as the founding publisher of New Directions. A Commonplace Book of Pentastichs, the last book of his own that he helped to prepare, is a compilation of 249 poems composed in a five-line stanza form first introduced in The Secret Room (1997). A note to "Thirty-nine Pentastichs" in that earlier volume explains: "a 'pentastich' refers simply to a poem of five lines, without regard to metrics. The word is Greek derived, from pentastichos, though few survive from ancient times... The present selection is of recent short-line compositions in natural voice cadence, many of them marginal jottings and paraphrases of commonplace book notations." Musing on the full collection, Hayden Carruth writes in his introduction: "For the reader it is a survey of literature that will never be found in the classroom--praise whatever gods may be--but indubitably will be found in loving and longlasting proximity on many a bedside table." Here, then, are armchair marginalia and aperçus to be savored at random.

Debra Di Blasi writes from the heart of the Postmodern American Gothic. A native Missourian, she plumbs the depths of psychosexual repercussion and searing sentiment behind the region's parched, pitchfork-bearing façade. Though her writing has been widely published in literary journals, Drought, paired here with a second novella, Say What You Like, is a stunning first foray into book form. In Drought, Di Blasi dissects a young couple's relationship on a failing cattle ranch, allowing us to see all the subcutaneous mental and physical violence they endure. As unceasing heat kills the couple's livestock, Di Blasi focuses a science writer's exactitude and a poet's charged restraint on the human cost of rural tragedy. Say What You Like offers an even more ruthless examination of a couple's deep-seated pain. Pared down to short, numbered sections, the relationship of a nameless "He" and "She" is laid bare by Di Blasi's unflinching skill with the scalpel. Debra Di Blasi is a daring young writer of the top order.

Guy Davenport's story collection A Table of Green Fields (New Directions, 1993) was praised for its amazing artistry and "stratospheric" literary intelligence (Kirkus Reviews). As The Washington Post noted, "It draws one in with its austere, beautifully formal sentences, its rich pattern of memory." In Davenport's follow-up collection, The Cardiff Team, the stories continue in this vein, their texts a wondrous collage of persons, events, and ideas from cultural history. The central theme is that of tribeless people joining, or trying to join, a team, a tribe, or a society. In "The Messengers," Franz Kafka visits the Jungborn Health Spa in the Harz mountains and tries to feel comfortable in his own skin. In "Boys Smell Like Oranges," a soccer team of boys from Henry de Montherlant's Les Olympiques is its own contained tribe. The Cardiff Team perfectly displays Guy Davenport's illustrious prose and his audacity; confirming The New Yorker's assertion that his is "among the very few, truly original voices now audible in American letters."

Jerome Rothenberg holds a premier place in the American avant-garde. The poems in Seedings, his newest collection, leap across history. Past and future become entwined, and the intricate paths reaching from one century and one millennium into another double back into timelessness ("as the twentieth century winds down/the nineteenth century begins/again"). The long title poem that opens this fin-de-siecle gathering is, appropriately, a celebration of poets and friends--such as Robert Duncan, George Oppen, and Paul Blackburn--who have entered what Rothenberg calls "a Paradise of Poets." "Seedings" is followed by four other sections, "Improvisations" is a series of high-energy poems in a mode of open writing characteristic of much of the poet's experimental work, while "Twentieth Century Unlimited" is an assemblage of travel poems and personal observations. "An Oracle for Delfi" revisits and sees anew a classical landscape long the inheritance of Western poets. A final sequence, "14 Stations," joins the concise verbal techniques of gematria (traditional Hebrew numerology) with the stark agonies of the Holocaust last explored by Rothenberg in Khurbn & Other Poems (1989).

Proper Name collects for the first time the inimitable stories of Bernadette Mayer-"one of the most original writers of her generation" (The Washington Post).The nineteen narratives of Proper Name include "My Excellent Novel," "Ice Cube Epigrams," "Essay: How Carefully Do We Tend?" and "Juan Gave Nora a Pomegranate." Mayer's structural inventions are terrific and unique. As Fanny Howe remarked in The American Book Review, "In a language made up of idiom and lyricism, Mayer cancels the boundaries between prose and poetry."

The speaker of The Philosopher's Window and Other Poems, Allen Grossman tells us, is "an old man compelled by the insistent questioning of the children to explain himself"-and in this way, the world. He begins with creation ("The Great Work Farm Elegy"), recalls the romantic quest of youth ("The Philosopher's Window"), returns to reality ("The Snowfall" and "Whoever Builds"). His tales told, the old man wakes in a stormy springtime ("June, June"), "when the lilacs are gone." Grossman's allegory of life's journey, at once sonorous and antic, takes in the high and the low in these new visionary songs of innocence and experience.Allen Grossman is Andrew W. Mellon Professor of the Humanities at The Johns Hopkins University. He counts among his many honors and awards MacArthur, Guggenheim, and NEA fellowships, the Witter Bynner Prize for Poetry, and the PEN-Sheaffer/New England Award for Literary Distinction. The Philosopher's Window is his eighth book of poetry. His previous collection, The Ether Dome & Other Poems New and Selected (1991), was a National Book Critics Circle Award nominee.

The poems in Gustaf Sobin's newest collection, Breaths' Burials, establish a dialogue with silence. Breath, its syllables buried in the resonant space between the word and the void, unlocks "the gloriole, the ring of things released." Whether Sobin is writing about irises, Venetian architecture, or the wind-blown plateaus of his adopted Provence, his poems are not more nor less than a search in the redemptive, celebrating the regeneration of language out of itself. Breaths' Burials once again confirms the praise of Robert Duncan, who described Sobin's work as "a poetry of great distinction, awakening the spirit to a world of errant clarifies renewed."

When Caradoc Evans's novel Nothing to Pay appeared in 1930, it met with much admiration and also much resistance. His ruthless exposure of the Nonconformist establishment undermined the commonly held view that the Welsh were a pastoral, God-fearing people. As Jeremy Brooks put it The Independent, "What the Welsh could not forgive was that they recognized themselves only too clearly in Evans's satirical portraits." But Dylan Thomas praised Evans's work relentlessly, and H.G. Wells said in a lecture: "There was one, who is too little esteemed, who has done the thing [of telling about the trade shops] with a certain brutal thoroughness, and he tells a great deal of truth. That is Caradoc Evans in his book Nothing to Pay." (In America, H.L. Mencken saw in Evans the fundamentalists of the South laid bare, and offered one hundred free copies of his story collection to the local YMCA.) Nothing to Pay relates the story of Amos Morgan, an ambitious draper from Cardiganshire who works his way up to London through the shop trade. Largely autobiographical, this novel was admired by the Welsh literati and has since become a classic of Welsh literature, not only for its scathing satire, but for its brilliant linguistic inventiveness and poetic style.

The author describes his characters as people who, though they earn little money, are not quite working poor-nor can they work without working hard. They do not know quite how to betray or abandon each other.  Mostly, they try to love and do not readily shy from duty. Though Allman's narratives run from stark naturalism to the near magical and the out-and-out futuristic, his imagination holds to the everyday-as if to say to his readers: Yes, life is grim, but it is precisely the unbearable that becomes the ground for healing.

Editor Robert J. Bertholf has taken three core essays from Fictive Certainties (1985), an earlier prose collection that was limited to works written after 1955; to these have been added a variety of Duncan's writings on contemporary artists and such fellow poets as Ezra Pound, Marianne Moore, Louis Zukofsky, Charles Olson, Robert Creeley, Denise Levertov, and Jack Spicer. Included as well are "Rites of Participation, " an excerpt from the still unpublished "H.D. Book"; a long meditation on Edmond Jabes' The Book of Questions, and a revised version of Duncan's controversial and provocative essay of 1944, "The Homosexual in Society."

The running theme in Michael McClure's Simple Eyes & Other Poems is: looking at the world directly. The results are often as disquieting as they are illuminating, whether he directs his unblinking gaze on the American cityscape, the landscapes of Mexico and Kenya, or the mind's own terrain. In the long title poem, "Simple Eyes (Fields)," the stanzas on the Persian Gulf War bloom out of images of all wars the poet has known--"the spiritual wars, the napalm and cordite and nuclear wars, and the war against nature"--and become a kind of spiritual autobiography. At the heart of the poetry is McClure's return to the ancient concept of agnosia, the idea of knowing through unknowing, as a way of living in desperate times, in which deep human or humane feelings have almost become outlaw. Simple Eyes is an outspoken poet's statement, unsentimental, yet with mind and eye quickened by love.

The Father of a Murderer takes place in a classroom of the Wittelsbach Gymnasium in 1920s Munich over the course of a single Greek lesson. Headmaster Himmler (the father of Heinrich Himmler) enters the classroom, apparently to observe the students' progress. However, he soon takes over the lesson himself. Himmler mercilessly tests the boys, but his real purpose is to teach a political lesson to the German youths, and through them to settle scores with their fathers.

As poet and experimental translator, pioneer in performance poetry and ethnopoetics, Jerome Rothenberg for over three decades has been a literary radical and prominent influence in the American avant-garde. Among his own earliest sources was the Spanish poet Federico Garcia Lorca, whose "composition through images ... opened my mind to the contemporary poetry of Europe & of something possibly older & deeper that would surface for us in America as well." Having recently returned to translating Lorca, Rothenberg began to appropriate and rearrange items of Lorca's vocabulary and to compose a series of poems of his own that "both are & aren't mine, both are & aren't Lorca." As an original work, The Lorca Variations are, as he describes them, "a way of coming full circle into a discovery that began with Lorca & for which he has stood with certain others as a guide & constant fellow-traveler."

A Table of Green Fields includes ten stories, variously about the painter Henry Scott Tuke, the mathematician James Joseph Sylvester, Kafka, Thoreau, along with some imaginary Frenchmen and Scandinavians, among others. Calculating the infinite in the finite, tracing geometries of desire, placing the obdurate world in an uncustomary light, each of these stories opens out its own world. Without giving up the plot or character of the traditional short story, Guy Davenport's inventions are complex events in which ideas and cultural history are a kind of music to which the characters dance. Despite the fractal, syncopated collage of his narrative style, Davenport's prose is objective, terse, and transparent. A constant theme in this book is the transmission of the past as an imaginative act; hence the title, Falstaff's dying vision of "a table of green fields," probably a mishearing of his recitation of the Twenty-third Psalm, corrected by editors to "he babbled of green fields," a symbol of all fiction, an art that must be exact about the uncertain.

The stage-struck daughter of an English rural dean runs off with the family plate to London and a theatrical career-only to die tragically by the bite of a mousetrap in her moment of triumph as a sensational Juliet.

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.

In her celebrated essay "Against Decoration," published in Parnassus, Mary Karr took aim against the verbal ornaments that too often pass for poetry these days and their attendant justifications: deconstruction and a "new formalism" that elevates form as an end in itself. Her own poems, she says, are "humanist poems," written for everyday readers rather than an exclusive audience--poems that do not require an academic explication in order to be understood. Of The Devil's Tour, her newest collection, she writes: "This is a book of poems about standing in the dark, about trying to memorize the bad news. The tour is a tour of the skull. l am thinking of Satan in Paradise Lost: 'The mind is its own place and it can make a hell of heav'n or a heav'n of hell ... I myself am hell."

Unpredictable and uncanonical, Eliot Weinberger's essays are the "outside stories" of cultural migrations. The fifteen pieces collected here range from the history of the Salman Rushdie affair to the dream of Atlantis, from the turf wars among ethnographic filmmakers to the unlikely romance between poetry and espionage, from the pilgrims in Plymouth to the students in Tiananmen Square. Above all, Weinberger's concern is poetry--whether written in medieval Baghdad or by Mexicans in Japan--and the perennially underground yet global network through which it travels. With his modernist sensibility and internationalist perspective, Weinberger's inventive prose transports old myths and texts to the strange realities of contemporary life.

Gathered in The Man with the Heart in the Highlands are sixteen stories from William Saroyan's most celebrated literary period, culled from several long out-of-print collections from the 1930s and '40s, While achieving meteoric success with The Human Comedy and The Time of Your Life, the young Saroyan set the pace with characters as fresh and compassionate as himself. His voice here is exhilarating, luminous, and completely distinctive--ready to let go with a lusty brash laugh on every page. These stories amply bear out Elizabeth Bowen's opinion that "probably since O. Henry nobody has done more to endear and stabilize the short story."

The Infinite Moment is a personal selection made by a poet known for his elegant translations from several languages, Chinese, Japanese, Estonian, Latin, and now ancient Greek. Drawing from the classic Lyra Graeca and The Greek Anthology, Sam Hamill has made new, American translations of poems in the thousand-year tradition that begins with Sappho, Alcaeus, and Anakreon in the 6th century C.E. The love poems, epigrams, and sly invective of over forty poets remind us once again of the deep wellspring of ancient Greece that nourished the roots of so many cultures.The Greek lyric poem was made to be performed with musical accompaniment, but like its modern descendent it seeks to articulate the experience of insight attained in the infinity of the moment. Says Hamill: "The fundamental experiences of humanity remain simultaneously universal and particular. The tears of Lymnos on the banks of the Akeron are the same tears Hitomaro shed a thousand years later on the shores of the Omi Sea."

The Theatre of Tennessee Williams presents, in matching format, the plays of one of America's most consistently influential and innovative dramatists. The first five volumes of this ongoing series contain Williams's full-length plays through 1975 and, in addition to the texts themselves, include original cast listings and production notes. Volumes 6 and 7 contain Williams's collected shorter plays. Now available as a paperback, Volume 8 adds to the series four full-length plays written and produced during the last decade of Williams's life.

The three sections of Bei Dao's affecting new book of poems, Old Snow--"Berlin," "Oslo," "Stockholm"--are poignant reminders of the restless and rootless life of the exile. All the poems in the present bilingual volume were written post-Tiananmen Square (June 4, 1989), and the poet refers back to this watershed both overtly ("Not your bodies but your souls/ shall share a common birthday') and in dense images of loss and betrayal ("old snow comes constantly, new snow comes not at all/ the art of creation is lost"). As renowned China scholar, Jonathan Spence commented on Bei Dao's earlier book, The August Sleepwalker: "The poet was obliged to create a new poetic idiom that was simultaneously a protective camouflage and an appropriate vehicle for 'unreality.'" Bonnie S. McDougall, whose translations of Bei Dao have been called "a major achievement in themselves," is Professor of Chinese at the University of Edinburgh. Working with Chinese writer in exile Chen Maiping (now residing in Oslo), she once again renders Bei Dao's poems into fluid and musical English.

Futility is an astounding, funny, and enchanting novel which mixes eccentric Russian sensibilities with eccentric British brains, both richly possessed by its author William Gerhardie (1895-1977). The novel's narrator, Andrei Andreiech, an Englishman of Russian upbringing, recounts his entanglements with the Bursanov family and his love for Nina, the second of three beautiful sisters. The Revolution destroys the family fortunes, but Nina's father still pins his hopes on his Northern goldmines, gathering dependents who trail him even to Siberia. Andrei also waits, hoping his love for Nina will bring happiness. It is Gerhardie's vivacity and lightness of tone in conducting these meaningful yet ludicrous tragedies of disappointment that marks Futility as one of the great neglected novels of the twentieth century.