Bøger udgivet af NEW DIRECTIONS

Financial Times Book of the Year

A fragmented, impressionistic account of the young poet's experiences in Southern France

A selection of poems from one of the most highly regarded late-twentieth century poets

Hailed as a masterpiece by Jean Genet, Marguerite Duras, and Jean-Paul Sartre, Tropisms is considered one of the defining texts of the nouveau roman movement. Nathalie Sarraute has defined her work as the "movements that are hidden under the commonplace, harmless instances of our everyday lives." Like figures in a grainy photograph, Sarraute's characters are blurred and shadowy, while her narrative never develops beyond a stressed moment. Instead, Sarraute brilliantly finds and elaborates subtle details-when a relationship changes, when we fall slightly deeper into love, or when something innocent tilts to the smallest degree toward suspicion.

One Saturday night a bankrupt bachelor in his sixties and his mother dine with a wealthy friend. They discuss their endlessly connected neighbors. They talk about a mysterious pit that opened up one day, and the old bricklayer who sometimes walked to the cemetery to cheer himself up. Anxious to show off his valuable antiques, the host shows his guests old windup toys and takes them to admire an enormous doll. Back at home, the bachelor decides to watch some late night TV before retiring. The news quickly takes a turn for the worse as, horrified, the newscaster finds herself reporting about the dead rising from their graves, leaving the cemetery, and sucking the blood of the living-all somehow, disturbingly reminiscent of the dinner party.

It is no surprise that one of Muriel Spark's most lively and entertaining works would be her own memoir, Curriculum Vitae. Born to a Scottish Jewish father and an English Presbyterian mother, Spark describes her childhood in 1930s Edinburgh in brief, dazzling anecdotes. In one she recalls a cherished schoolteacher, Christina Kay, who would later be used as the prototype for Miss Jean Brodie. Spark boldly details her disastrous first marriage to Sydney Oswald Spark (S.O.S.) - himself thirty-two, she just nineteen - whom she followed to Rhodesia (now Zimbabwe) and left behind to return to England. In the midst of WWII, Spark took a bizarre position working in the disinformation campaign of the British Secret Service, eliciting information from German POWs to combat Nazi propaganda. She later moved to the Poetry Society of London, where she mingled with literati and other intellectuals, befriended by some (such as Graham Greene, an early supporter of her work) and sparring with others. We experience Spark's joy with the publication of her first novel, The Comforters, her trials with other writers' envy, and her emergence as the most brilliant femme fatale of 20th-century English literature.

Forrest Gander's Core Samples from the World is a magnificent compendium of poetry, photography, and essay (a form of Japanese haibun). Collaborating with three acclaimed photographers, Gander explores tensions between the familiar and foreign. His eloquent new work voices an ethical concern for others, exploring empathic relations in which the world itself is fundamental. Taking us around the globe to China, Mexico, Bosnia-Herzegovina, and Chile, Core Samples shows how Gander's "sharp sense of place has made him the most earthly of our avant-garde, the best geographer of fleshly sites since Olson" (Donald Revell, The Colorado Review).

"I always carry over 40,000 gold francs about with me in my belt. They weight about 40 pounds, and I am beginning to get dysentery from the load."

Attractive, clever, a cavalry officer and very rich, young Leuwen had everything necessary for happiness and success--everything except belief in himself and the social order of his time. It is the period of King Louis-Philippe, when an induced conservatism was atrophying France after the cataclysm of the Revolution and the glorious illusion that was Napoleon. Here is an historical novel which is the real thing--a portrait without equal of a time, a place, and the way conflicting groups of Frenchmen felt about each other and themselves. Lucien Leuwen comes down from Paris to serve with a regiment garrisoned in the provincial city of Nancy. There, though he is only a rich bourgeois, not of the nobility, he cleverly makes his way into society and dares to fall in love with the blue blood belle of the town. The magic cast by one of France's greatest novelists transports us completely into the hearts of Lieutenant Leuwen and the beautiful Bathilde de Chasteller as their love affair follows its torturous course.

In A Diary of Love, Maude Hutchins introduces us to Noel. Noel is an orphan being raised by a flute-playing grandfather, a spinster aunt, a benign family doctor, an incredible cook, an improbable governess, and the neighbors, who are gamey. Between a country estate and a sanitarium in the desert, A Diary of Love highlights the capriciousness of Noel and her capability to love a vast array of characters. Hutchins' probing, darting, fantasy-building mind is ever on the move through space, time, history, dreams, and delighted memories.

"Not after the establishment, but speaking straight ahead." This is how William Carlos Williams referred to his own forthrightness as well as his practice of using only American speech patterns in his poems. In Interviews with William Carlos Williams, Linda Wagner of the English Department, Michigan State University, has assembled Dr. Williams's most important public statements. The first section, entitled simply "Interviews," reproduces in toto three in-depth conversations, revealing Dr. Williams's humor, vitality, and American-ness, as he discusses his theories of poetic meter and diction, his opinions of such contemporaries as Pound and Eliot, and his view of his own role in shaping the course of modern American poetry. The second section, "Dialogues," is arranged alphabetically by subject heading. Here are recorded the poet's thoughts on topics from "Art" to "Women." The third and final part of Interviews with William Carlos Williams, "Memoirs and Miscellany," includes the touching account of a visit to the Williamses by artist Gael Turnbull in 1958. Also reprinted are two of Dr. Williams's best expositions of his own poetic techniques, "The American Idiot" and "How to Write"--essays which appeared in early New Directions anthologies but have been generally unavailable since. This valuable collection of comments "for the record" is annotated and includes an index.

In Love is a Pie, Maude Hutchins serves up what is surely one of the most extraordinary pastries ever baked in a literary oven. Its ingredients range from the small angel Astrolabe, to Toto the gorilla, from an impudently portrayed Julius Caesar to the newest wife of the founder of the Mormon church. There is the curious history of why mannequins do not speak. In a group of five stories--"The Lost Papers of an Extra Man"--one learns what goes on in a bachelor's mind and heart, and at the dinner parties where he tends to lose both. In every piece within Love is a Pie there is the inimitable Hutchins style, her fresh and original way of looking at familiar matters, her piquant wit.

Georgiana is a girl. The printer who printed her thought she was quite a girl, and we readily agree. But don't interpret "quite" to mean "bad." A girl with as much brain and flair as Georgiana doesn't have to be bad to make her appealing. You read a few pages of Georgiana at random--her childhood or her days in school or her first loves--and you realize at once that she is a real person. So indeed that she breaks all the roles of novel-writing. In fact she walks clean out of the back cover. Nobody is going to finish her. Perhaps good sculptors cannot be trusted with typewriters. They see too much and they feel too much. You will, too.

The Ancient Rain: Poems 1956-1978 is San Francisco poet Bob Kaufman's third collection and his first to be published since the late 1960s. One of the original Beat poets (the coinage "beatnik" is his), Kaufman's work has always been essentially improvisational, often done to jazz accompaniment. And he became something of a legendary figure at the poetry readings in the early days of the San Francisco renaissance of the 1950s. With his extemporaneous technique, akin in many ways to Surrealist automatic writing, he has produced a body of work ranging from a visionary lyricism infused with satirical, almost Dadaistic elements to a prophetic poetry of political and social protest. Born in New Orleans of mixed Black and Jewish parentage, Kaufman was one of fourteen children. During twenty years in the Merchant Marine, he cultivated an intense taste for literature on his long sea voyages. Settling in California, in the '50s, he became active in the burgeoning West Coast literary scene. Disappointment, drugs, and imprisonment led him to take a ten-year vow of complete silence that lasted until 1973. The present volume includes previously uncollected poems written prior to his pledge and newer work composed in the years 1973-1978, before the poet once again lapsed into silence.

Part springtime journal ("why are there thorns?"), Works and Days meditates on the first wasps and chipmunks of the season, times' passage, grackle hearts, and dandelions, while also collecting dozens of poems considering the Catholic Church, Sir Thomas Browne, "Go Away" welcome mats, books, floods ("never of dollar money"), the invention of words, local politics, friendships, property development, dogs, and Hesiod. Every page delights. As the poet herself notes: "My name is Bernadette Mayer, sometimes / I am at the head of my class."

A collection of prose writing and lectures from the great Spanish poet.

Denise Levertov's Candles in Babylon evinces both the inner strength gained by a life of social commitment and the quiet wisdom born of solitude. The seventy-one poems in the book--her first full collection since Life in the Forest (1978)-- are grouped into several thematic sections that explore by turns the subtleties in the shifting balance between our public and private selves, the poet's voice ranging from the wry satire of her "Pig Dreams" sequence to the resonant grandeur of her six-part "Mass for the Day of St. Thomas Didymus." Behind it all is the gentle melancholy of the title poem and the poet's vision of peace.

Known for wrapping readers in his historical web, Paul West, in his marvelous novel Cheops: A Cupboard for the Sun, turns his attention to the 4th Dynasty (approx. 2680 BC) of ancient Egypt. Here, we find the pharaoh Cheops, building the great pyramids at Giza, surrounded by workers and solar boats. According to the Greek historian Herodotus, "a hundred thousand men were made to toil constantly for him," and, as Herodotus claimed, Egypt was "plunged into all manner of wickedness.' In Cheops, West delightfully has Herodotus transported back in time, to meet the great pharaoh face to face. Nearing death, getting ready for his final "transportation to the stars," the blind Cheops is obsessed with preparing for his end. All the while, the intrigues of his daughters, sons, wives, and courtiers are revealed, uncovering murder, incest, and rebellion. Perhaps most intriguing is the overarching narration by Osiris, god of the Nile. While managing to "pipe" the music of English composer Frederick Delius into the dying Cheops's ears, he comments on this swarm of events with hilarious and humane authority. Profound and entertaining, Cheops: A Cupboard for the Sun is perhaps Paul West's greatest novel yet.

When the three novellas in The King of Trees were published separately in China in the 1980s, "Ah Cheng fever" spread across the country. Never before had a fiction writer dealt with the Cultural Revolution in such Daoist-Confucian terms, discarding Mao-speak, and mixing both traditional and vernacular elements with an aesthetic that emphasized not the hardships and miseries of those years, but the joys of close, meaningful friendships. In The King of Chess, a student's obsession with finding worthy chess opponents symbolizes his pursuit of the dao; in The King of Children-made into an award-winning film by Chen Kaige, the director of Farewell My Concubine-an educated youth is sent to teach at an impoverished village school where one boy's devotion to learning is so great he is ready to spend 500 days copying his teacher's dictionary; and in the title novella a peasant's innate connection to a giant primeval tree takes a tragic turn when a group of educated youth arrive to clear the mountain forest. The King of Trees is a masterpiece of world literature, full of passion and noble emotions that stir the inner chambers of the heart.

The Rose Tattoo is larger than life-a fable, a Greek tragedy, a comedy, a melodrama-it is a love letter from Tennessee Williams to anyone who has ever been in love or ever will be. Professional widow and dressmaker Serafina delle Rosa has withdrawn from the world, locking away her heart and her sixteen-year-old daughter Rosa. Then one day a man with the sexy body of her late Sicilian husband and the face of a village idiot, Mangiacavallo (Italian for "eat a horse"), stumbles into her life and clumsily unlocks Serafina's fiery anger, sense of betrayal, pride, wit, passion, and eventually her capacious love.The original production of The Rose Tattoo won Tony Awards for best play and for the stars, Eli Wallach and Maureen Stapleton. Anna Magnani received the Academy Award as Best Actress for the 1955 film version.This edition of The Rose Tattoo has an Introduction by playwright John Patrick Shanley, the author's original foreword, the one-act The Dog Enchanted by the Divine View that was the germ for the play, and an essay by noted Tennessee Williams scholar Jack Barbera.

Summoned home to Egypt after a long European debauch (disguised as "study"), our hero Teymour-in the opening line of A Splendid Conspiracy-is feeling "as unlucky as a flea on a bald man's head." Poor Teymour sits forlorn in a provincial café, a far cry from his beloved Paris. Two old friends, however, rescue him. They applaud his phony diploma as perfect in "a world where everything is false" and they draw him into their hedonistic rounds as gentlemen of leisure. Life, they explain, "while essentially pointless is extremely interesting."  The small city may seem tedious, but there are women to seduce, powerful men to tease, and also strange events: rich notables are disappearing.Eyeing the machinations of our three pleasure seekers and nervous about the missing rich men, the authorities soon see-in complex schemes to bed young girls-signs of political conspiracies. The three young men, although mistaken for terrorists, enjoy freedom, wit, and romance. After all, though "not every man is capable of appreciating what is around him," the conspirators in pleasure certainly do.

Mikhail writes: "Death always looks for us. It comes from beyond the continents. It crosses long distances holding a basket of fire in its hand."The two halves of Mikhail's book merge past and present in a lyrical memoir that moves between memories of her childhood, her father's death, her Iraqi poet-peers and friends, her job as a journalist for the Baghdad Observer, and culminates with the birth of her daughter Larsa.

Describing the title of his collection of poetry and occasional prose pieces, Gary Snyder writes in his introductory note that Turtle Island is "the old / new name for the continent, based on many creation myths of the people who have been here for millennia, and reapplied by some of them to 'North America' in recent years." The nearly five dozen poems in the book range from the lucid, lyrical, almost mystical to the mytho-biotic, while a few are frankly political. All, however, share a common vision: a rediscovery of this land and the ways by which we might become natives of the place, ceasing to think and act (after all these centuries) as newcomers and invaders.Of particular interest is the full text of the ever more relevant "Four Changes," Snyder's seminal manifesto for environmental awareness.

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. Head-master 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 accounts with their fathers. In the venerable tradition of German school novels (Musil's Young Torless and Heinrich Mann's Professor Garbage), this tale can be read as an account of routine academic sadism, but the essence of the story lies in the fine nuances of speech, thought, and behavior that illustrate, in the most sophisticated way, how the rise of Hitler was possible. Never before translated into English, this chilling novel was Andersch's final work. Published posthumously in German in 1980, it is considered by many to be his masterpiece.

As a rule, a good novel does not always make a good play--especially a novel as unconventional as this one by Dylan Thomas. But Andrew Sinclair's brilliant adaptation of Adventures in the Skin Trade is the exception. This is the story of young Samuel Bennet--a not entirely innocent provincial--who leaves his Welsh home to let adventure find him in London. Sam is soon deeply involved--all the while with his finger stuck fast in an ale bottle--with a fantastic assortment of odd characters whom only Dylan Thomas could have conceived. What The Times Literary Supplement said about Adventures in the Skin Trade as a novel still applies to the play: "There is no doubt of Thomas's genius as a comic writer ... there are memorable images and phrases on every page." One reason is Andrew Sinclair's exceptionally skillful adaptation.