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"The Instruction Manual," the first chapter, is an absurd assortment of tasks and items dissected in an instruction-manual format. "Unusual Occupations," the second chapter, describes the obsessions and predilections of the narrator's family, including the lodging of a tiger-just one tiger- "for the sole purpose of seeing the mechanism at work in all its complexity." Finally, the "Cronopios and Famas" section delightfully characterizes, in the words of Carlos Fuentes, "those enemies of pomposity, academic rigor mortis and cardboard celebrity-a band of literary Marx Brothers." As the Saturday Review remarked: "Each page of Cronopios and Famas sparkles with vivid satire that goes to the heart of human character and, in the best pieces, to the essence of the human condition."

"Reading time is approximately four hours. Remembering time, as for its author, the rest of one's life," said Joseph Brodsky of Fleur Jaeggy's novel, Sweet Days of Displine. Now Jaeggy has come up with seven stories, each at some deep level in dark complicity with the others, all as terse and spare as if etched with a steel tip. A brooding atmosphere of horror, a disturbing and subversive propensity for delirium haunts the violent gestures and chilly irony of these tales. Full of menace, the air they breathe is stirred only by the FÜhn, the warm west wind of the Alps that inclines otherwise respectable citizens to vent the spleen and angst of life's last vanities.

Victor Pelevin's novel Omon Ra has been widely praised for its poetry and its wickedness, a novel in line with the great works of Gogol and Bulgakov: "full of the ridiculous and the sublime," says The Observer [London]. Omon is chosen to be trained in the Soviet space program the fulfillment of his lifelong dream. However, he enrolls only to encounter the terrifying absurdity of Soviet protocol and its backward technology: a bicycle-powered moonwalker; the outrageous Colonel Urgachin ("a kind of Sovier Dr. Strangelove"-The New York Times); and a one-way assignment to the moon. The New Yorker proclaimed: "Omon's adventure is like a rocket firing off its various stages-each incident is more jolting and propulsively absurd than the one before."

The main character, Andrei, is a passenger aboard the Yellow Arrow, who begins to despair over the trains ultimate destination and looks for a way out as the chapters count down. Indifferent to their fate, the other passengers carry on as usual - trading in nickel melted down fro the carriage doors, attending the Upper Bunk avant-garde theatre, and leafing through Pasternak's Early Trains. Pelevin's art lies in the ease with which he shifts from precisely imagined science fiction to lyrical meditations on past and future. And, because he is a natural storyteller with a wonderfully absurd imagination. The Yellow Arrow is full of the ridiculous and the sublime. It is a reflective story, chilling and gripping.

Bread in the Wilderness sets forth Merton's belief that "the Psalms acquire, for those who know how to enter into them, a surprising depth, a marvelous and inexhaustible actuality. They are bread, miraculously provided by Christ, to feed those who have followed Him into the wilderness." Merton's goal in this moving book is to help the reader enter into the Psalms: "The secret is placed in the hands of each Christian. It only needs to be discovered and fulfilled in our own lives." The new ND Classic edition of Bread in the Wilderness faithfully reproduces the beautiful, large-format original 1953 New Directions books, created by the celebrated designer Alvin Lustig and lavishly illustrated throughout with photographs of a remarkable medieval crucifix at Perpignan, France.

"With a narrative style and humor that sometimes hints at Nabokov, Zinik, who left Russia in 1975, crafts amazing stories depicting the plight of emigres as they endure their solitude and try, ultimately, to create new lives and new selves. These eight stories give glimpses of the mindset and frustrations that the narrator (also named Zinovy Zinik) experiences. In "A Ticket to Spare," a Russian Jew who travels to Kiev to see a Duke Ellington concert experiences the difficulty of seeking comfort in an unfamiliar city if only for a day. Being both Russian and Jewish, Zinik finds it hard to meet folks in Kiev; even on the anniversary of the slaughter of the Jews at Babi Yar, he's shunned by fellow Jews engaged in a secret prayer for the victims. The stories have an archness of tone, a playfulness born of the experience of displacement and the accompanying knowledge that the world is endlessly mutable. In "A Chance Encounter," Zinik is allowed by the Soviets to return home briefly to visit his mother's grave, where he meets a woman he vaguely remembers. He becomes convinced she is a former girlfriend, only to find out that she is that former girlfriend's daughter. While walking around Moscow, he enters a familiar building and is suddenly overcome by "a Soviet version of Proustian nostalgia, carried by the urine and garbage underfoot, illuminated by a naked spattered bulb as dim as memory." Zinik captures perfectly and evocatively these memories, which reverberate within his own cork-lined room." --Publishers Weekly.

There is a set-phrase in Chinese referring to the phenomenon of Li Po: "Winds of the immortals, bones of the Tao." He moved through this world with an unearthly freedom from attachment, and at the same time belonged profoundly to the earth and its process of change. However ethereal in spirit, his poems remain grounded in the everyday experience we all share. He wrote 1200 years ago, half a world away, but in his poems we see our world transformed. Legendary friends in eighth-century T'ang China, Li Po and Tu Fu are traditionally celebrated as the two greatest poets in the Chinese canon. David Hinton's translation of Li Po's poems is no less an achievement than his critically acclaimed The Selected Poems of Tu Fu, also published by New Directions. By reflecting the ambiguity and density of the original, Hinton continues to create compelling English poems that alter our conception of Chinese poetry.

Known as a remarkable classicist, Anne Carson weaves contemporary and ancient poetic strands with stunning style in Glass, Irony and God. This collection includes: "The Glass Essay," a powerful poem about the end of a love affair, told in the context of Carson's reading of the Brontë sisters; "Book of Isaiah," a poem evoking the deeply primitive feel of ancient Judaism; and "The Fall of Rome," about her trip to "find" Rome and her struggle to overcome feelings of a terrible alienation there.

Set in nineteenth-century India between two revolutionary moments of change, Twilight in Delhi brings history alive, depicting most movingly the loss of an entire culture and way of life. As Bonamy Dobree said, "It releases us into a different and quite complete world. Mr. Ahmed Ali makes us hear and smell Delhi...hear the flutter of pigeons' wings, the cries of itinerant vendors, the calls to prayer, the howls of mourners, the chants of qawwals, smell jasmine and sewage, frying ghee and burning wood." The detail, as E.M. Forster said, is "new and fascinating," poetic and brutal, delightful and callous. First published by the Hogarth Press in 1940. Twilight in Delhi was widely acclaimed by critics and hailed in India as a major literary event. Long since considered a landmark novel, it is now available in the U.S. as a New Directions Classic. Twilight in Delhi has also been translated into French, German, Portuguese, Spanish, and Urdu.

The devil in Henry Miller's Big Sur paradise is Conrad Moricand: "A friend of his Paris days, who, having been financed and brought over from Europe as an act of mercy by Mr. Miller, turns out as exacting, sponging, evil, cunning and ungrateful a guest as can be found in contemporary literature. Mr. Miller has always been a remarkable creator of character. Conrad Moricand is probably his masterpiece. . . .A Devil in Paradise is the work of a great novelist manqué, a novelist who has no stricter sense of form than the divine creator. . . .Fresh and intoxicating, funny and moving. . ." -The Times Literary Supplement (London)

Kamau Brathwaite's poetry offers stunning collages devoted to the history, mythology, and language of the African diaspora, and has gained him a world reputation. Middle Passages, his most recent collection, is his sixteenth poetry volume, but his first with an American publisher. With notes of protest and lament, the fourteen poems of Middle Passages address the effects of the Middle Passage of slavery on the New World, and celebrate great musicians (Ellington, Bessie Smith), poets, heroes of the resistance, and Third World leaders Kwame Nkrumah, Walter Rodney, and Nelson Mandela. And as the London Times Literary Supplement noted, it is "a poetry that moves between rage and tenderness, doubt and displacement to affirmation... Middle Passages is a potent and effective book, a work of passion and integrity."

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."

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."

Presented in Eliot Weinberger's excellent new translation with the Spanish texts en face, this is the 1957 poem "that definitively established Paz as a major international figure" (Sagetrieb). Written as a single cyclical sentence (at the end of the poem the first six lines are written again), Sunstone is a tour de force of momentum. It takes as its structural basis the circular Aztec calendar, which measured the synodic period of the planet Venus (584 days-the number of lines of Sunstone). But, as The New Republic noted, "this esoteric correlative design...does not circumscribe its subject. [It is] a lyrically discursive exploration of time and memory, of erotic love, or art and writing."

Stitching Porcelain, Deborah Larsen's first book of poetry, is a narrative-lyric sequence based on the life of Matteo Ricci, the resourceful Jesuit who entered China in 1583 and stayed for a quarter century. Pondering cultural accommodation as well as faith, many of the poems center on actual events: Ricci's dressing as a Buddhist; his awe-inspiring map (with China shrewdly centered); his prostration before an empty Dragon Throne. Other events the poet imagined. (In the title room, Ricci addresses a love lyric to China: "Your porcelain is so fine, so thin,/a brass wire can repair it . . . /Once I saw you beneath the bamboo/ . . . bent back/from the world, stitching porcelain.") With a felicity rare in a debut volume, Larsen's opalescent poetry works in perfect counterpoint to the strange and brilliant Ricci.

'Misunderstandings, uncertainties, belated understandings, useless remorse, treacherous memories, stupid and irredeemable mistakes, all these irresistibly fascinate me, ' the Italian writer Antonio Tabucchi remarks. 'Life is by nature ambiguous and distributes ambiguities among all of us.' This side of life is reflected in these eleven stories. Is it choice, fate, accident, or even, occasionally, a kind of magic that plays the decisive role in the protagonists' lives?

In Curve Away from Stillness, John Allman affirms the connections between poetry and science. They are, he says, as "old as the ones between poetry and cosmology, beauty and knowledge, pleasure and speculation." In reading this collection of "Science Poems," we are reminded of a philosophical tradition in literature that, with Lucretius, sees in the power of love the binding force of the universe. Allman's poems, however-meditations on "Physics," "Chemistry," "Biology," essential "Principles," the "Planets"-are grounded in the science of our time, in all its elegance and awesomeness.Curve Away from Stillness is Allman's fourth book of poetry, his third with New Directions. His previous publications include Scenarios for a Mixed Landscape (1986), speculative reflections on art and nature; the "historical epiphanies" of Clio's Children (1985); and Walking Four Ways in the Wind (Princeton University Press, 1979).

World Outside the Window: The Selected Essays of Kenneth Rexroth brings together twenty-seven essays written over a period of more than forty years by the man one of his publishers called "an American cultural monument." A brilliant self-taught scholar in fields as diverse as Buddhism and modern French poetry, Rexroth was a poet, philosopher, translator, promoter of poets, conscientious objector, political activist, cultural critic, professional curmudgeon, and teacher. More than one critic has suggested that an individual could pursue a complete curriculum in the humanities simply by reading Rexroth's essays and the works to which they refer. Clear-eyed and clear-headed, Rexroth championed "moral judgment" in the poet and artist from the very first (see "The Function of the Poet in Society," 1936). And while he dismissed many of his essays as "journalism," he remains our sanest guide to the cultural upheaval in American society since World War II. Was it because of his trenchant perspicacity that Rexroth's death in 1982 was widely ignored by the press and cultural establishment, bearing out his own assessment that "When a prophet refuses to go crazy, he becomes quite a problem, crucifixion being as complicated as it is in humanitarian America"? Recently he has been called our "intellectual conscience." It is time to read Rexroth again. This collection has been compiled and edited by Bradford Morrow, editor of Conjunctions magazine and Rexroth's literary executor.

Readers of the poetry and fiction of Delmore Schwartz (1913-66) are familiar with his penetrating psychology and his philosophical concerns, his ability to dramatize ideas and to turn his personal experiences--as immigrant son, New York Jewish intellectual and Wunderkind--into a symbol for the disorders and conflicts of modern life. But Schwartz had another side--the comic. The Ego Is Always at the Wheel, a collection of nineteen essays published now as a New Directions Paperbook, presents the poet as a humorist of no mean accomplishment. In this gathering of Schwartz's bagatelles, he romps through such topics as the taking of baths and the meaning of existentialism, the abominations of the telephone, fear of having one's picture taken, the importance of owning an automobile, theories of Hamlet's behavior and Don Giovanni's promiscuity, the difficulties of divorce, and more. His "An Author's Brother-in-Law" and "Memories of a Metropolitan Child, Memoirs of a Giant Fan" provide endearing self-portraits of the young Delmore. And "The Farmer Takes His Time" is an hilarious inquiry into a N.Y. Times news item about a Wisconsin widower who advertises for a wife.

Like Montaigne before him, Mandel examines the antic mind of his fellowmen, vain, various, and ever-changing, and its peculiar manifestations in an age that embraces ugliness and irrationality. The sixteen pieces in the collection are, literally, 'elaborations'-discursive, associative, meditative-of the author's earlier lyric poems and epigrams, arranged by him to move in an easy way from the autobiographical to matters more general and abstract.

Something to Say: William Carlos Williams on Younger Poets collects all of Williams' known writings-reviews, essays, introductions, and letters to the editor-on the two generations of poets that followed him, from Kenneth Rexroth and Louis Zukofsky to Robert Lowell and Allen Ginsberg. What might have been a random collection of occasional pieces achieves remarkable coherence from the singleness of Williams' poetic vision: his belief that the secret spirit of ritual, of poetry, was trapped in restrictive molds, and, if these could be broken, the spirit would be able to live again in a new, contemporary form. Only a revived clarity and accuracy in sight and expression would enable the modern world to reform social order which Williams saw in complete disarray. To resuscitate American Poetry, Williams concentrated his efforts on the purification of poetic speech-his American idiom-and on remaking the poetic line in a new measure-his variable foot. And while his battles with his contemporaries on these issues could be heated, he was always a nurturing father to the young, "a useful presence," "a model and a liberator." He told Ginsberg to pare down and economize, Roethke to open up, and encouraged Lowell and Levertov to shake off poetic conventions. But in all his emphasis on the poem as a made object of concrete physicality or as a field of action, he would return again and again to this basic advice to young writers: "The only thing necessary is to have something to say when at last the opportunity comes to say it."

Spanning fifty-four years, this collection record the creative growth of one of the twentieth century's most influential and versatile writers.

The friendship between Ezra Pound (1885-1972) and Ford Madox Ford (1873-1939) lasted for thirty years. It began in London in 1909, shortly after Pound's arrival, continued in Paris, and was afterward maintained without ruptures, quarrels, or serious disagreements, their warm affection and loyalty holding them together through life's vicissitudes, separation, and exile. Pound/Ford: The Story of a Literary Friendship documents, with letters as well as essays, reviews, and reminiscences--a considerable portion of which is published here for the first time--one of the most significant relationships in the development of modernism. Ford, the London man of letters, and Pound, his younger American contemporary, were united in their love for and knowledge of Mediterranean culture, their fierce dedication to literature, and their unselfish and tireless promotion of other writers--Lawrence, Joyce, Eliot, and Hemingway, to name just a few. Their influence upon each other was always eagerly acknowledged.

"A person who dislikes Ronald Firbank," quipped W. H. Auden, "may, for all I know, possess some admirable quality, but I do not wish ever to see him again." Edmund Wilson pronounced him "one of the finest writers of his period." Part high camp comedy of manners and part fairy tale, Five Novels by Ronald Firbank (1886-1926) is introduced by Osbert Sitwell. Firbank lived a life of exquisite, if lonely, leisure. He composed all his novels on postcards in his countless hotel rooms, always lavish with flowers. His moves were impulsive--"Tomorrow I go to Haiti. They say the President is a Perfect Dear!" ran one telegram to a surprised friend. At a dinner party given in his honor, the pathologically shy author refused to consume anything more than a single pea. His no less eccentric creations, Parvula de Panzoust and her guest Eulalia Thoroughfare of Valmouth, dine on "salmis of cocks'-combs saignant with Béchamel sauce." In The Artificial Princess, a queen with a passion for motoring roars about her realm for hours with her crown on. The Flower Beneath the Foot, Prancing Nigger, and Concerning the Eccentricities of Cardinal Pirelli are also included in this volume. "If only," concludes Sitwell, "we might have the joy of reading a new book from his pen, a book that would be so deliciously unlike any others in the world save his own." It is hoped that this collection will bring more readers that extraordinary experience.

In 1944, New Directions brought out Thomas Merton's first book of verse. By the time of his tragic, untimely death in 1968, Father Louis (as he was known at the Trappist monastery where he lived for twenty-seven years) had published upwards of fifty books and pamphlets, including several more collections of poetry. All of these poems have been assembled in a single, definitive volume (first published by New Directions in 1977) which includes much additional unpublished or uncollected material drawn from the archive of the Merton Studies Center at Bellarmine College in Louisville, Kentucky, or supplied by the poet's friends and associates. Brought together in The Collected Poems of Thomas Merton are: Early Poems (1940-42, published posthumously in 1971), Thirty Poems (1944), A Man in the Divided Sea (1946), Figures for an Apocalypse (1947), The Tear of the Blind Lions (1949), The Strange Islands (1957), Original Child Bomb (1962), Emblems of a Season of Fun (1963), Cables to Ace (1968), and The Geography of Lograire (completed in 1968 and published posthumously). These are followed by Sensation Time at the Home and Other New Poems, a book which Merton completed shortly before his death. There are also sections of uncollected poems, humorous verse, poems written in French, with some English translations, Merton's translations of poetry from various languages, drafts and fragments, and a selection of concrete poems. With the availability of The Collected Poems of Thomas Merton as a New Directions paperbook, an ever wider audience may more fully appreciate the impressive range of the poet's technique, the scope of his concerns, and the humaneness of his vision.

Available until now only in verse translation, it has been newly rendered for the American stage by Diana Stone Peters and Frederick G. Peters.A work of profound psychological insight, Prince Friedrich of Homburg probes with passionate intensity questions fundamental to "civilized" behavior. Prince Friedrich, the hero of the historic battle of Fehrbellin (1675) against the invading Swedes, receives not laurels for his victory but the sentence of death for disobeying orders in the field. Faced with certain execution, his mood swings from abject terror to high-minded exultation as first he challenges, and then accepts, the rule of law and subservience to the state. The action moves relentlessly in the near-frenzied pace characteristic of Kleist. Intended as a paean to a Prussia triumphant in the Napoleonic wars. the play was, ironically, censured and never produced in Kleist's lifetime. In our own day, Prince Friedrich of Homburg has been both denounced as a protofascist work and lauded as a supreme metaphysical disquisition. Whatever the merits of such intellectualization, it remains one of the most moving and performable plays available for the modern stage.