Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Daniel Borzutzky. "I sang the song of the old concrete sheds. It was filled with hundreds of niches, one over the other. There is a country in each one; they're like boys, they're dead." In this landmark poem, written at the height of the Pinochet dictatorship, major Chilean poet Raul Zurita protests with ferocious invention the extinguishment of a generation and the brutalization of a nation. Of the role of poetry and of his own treatment by the military under this regime, Zurita has said, "You see, the only thing that told me that I wasn't crazy, that I wasn't living in a nightmare, was this file of poems, and then when they threw them into the sea, then I understood exactly what was happening." This elegy refuses to be an elegy, refuses to let the Disappeared disappear.

A reintroduction to the myth of Amphion, recovering an overlooked sphere of lyric tradition. Amphion is the figure in Greek mythology who played so skillfully on a lyre that stones moved of their own accord to build walls for Thebes. While Amphion still presides over music and architecture, he was once fundamental to the concept of lyric poetry. Amphion figured the human power to inspire action, creating and undoing polities by means of language. In contrast to the individual inspiration we associate with the better-known Orpheus, Amphion represents the relentless, often violent, play of harmony and disorder in human social life. In this wide-ranging study, Leah Middlebrook introduces readers to Amphion-inspired poetics and lyrics and traces the tradition of the Amphionic from the Renaissance through modernist and postmodern poetry and translation from the Hispanic, Anglophone, French, Italian, and ancient Roman worlds. Amphion makes a significant contribution to scholarship on the connection between poetry and politics and the history of the lyric, offering an account well-suited to our times.

Here is a major work by a Chilean poet thought by many to be the most brilliant and important new voice in the Spanish language. In its first American edition, this poetry is presented in Spanish and Enlgish, so that readers of both languages may listed to Zurita's voice. Anteparadise can be read as a creative response, an act of resistance by a young artist to the violence and suffering during and after the 1973 coup that toppled the democratically elected Allende government. Zurita thus follows the example of several Latin American pets such as the Peruvian César Vallejo and Chilean Nobel laureate Pablo Neruda, sharing their passion and urgency, but his voice is unique.

Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Daniel Borzutzky. "In Zurita's writing, these are the realities of a contaminated, homicidal nation. The shame of the political has been absorbed by the natural. The blood and the bodies of the disappeared, now scattered throughout the landscape, have become part of the homeland, the Chilean soil. It's a rhetoric of shame, of loss, of unquantifiable and unspeakable violence." Daniel Borzutzky"

A harrowing meditation on tyranny, torture, and freedom by one of Chilé's most celebrated contemporary poets. Raúl Zurita’s INRI is a visionary response to the atrocities committed under the dictatorship of General Augusto Pinochet. In this deeply moving elegy for the dead, the whole of Chile, with its snow-covered cordilleras and fields of wildflowers, its empty spaces and the sparkling sea beyond, is simultaneously transformed into the grave of its lost children and their living and risen body. Zurita’s incantatory, unapologetically political work is one of the great prophetic poems of our new century.

Publisher Description

From a British mystery author known as “the master of the whodunnit,” an amateur detective delights in solving murders at an English boys’ school. Prof. Gervase Fen of Oxford University is honored to award the prizes at the Speech Day ceremonies at Castrevenford High School. As it turns out, the headmaster’s selection of the part-time sleuth as a presenter is most fortuitous indeed. For the night before the big event, two of the school’s staff members are murdered . . . Of course, Fen is happy to do some investigating, if only to get more fodder for the crime novel he’s writing. Between the kidnapping, the student romances, and the accidental discovery of a long-lost Shakespearian manuscript, the eccentric Oxford don certainly gets some food for thought. But that’s all in a day’s work for an amateur detective with a penchant for literary allusions and an uncanny knack for solving the unsolvable. Praise for the mysteries of Edmund Crispin “A marvellous comic sense.” —P. D. James, New York Times–bestselling author of the Inspector Adam Dalgliesh series “Master of fast-paced, tongue-in-cheek mystery novels, a blend of John Dickson Carr, Michael Innes, M.R. James, and the Marx Brothers.” —Anthony Boucher, author of the Fergus O’Breen series “An absolute must for devotees of cultivated crime fiction.” —Kirkus Reviews “One of the most literate mystery writers of the twentieth century.” —The Boston Globe “Beneath a formidable exterior he had unsuspected depths of frivolity.” —Philip Larkin, poet and author of A Girl in Winter “One of the last exponents of the classical English detective story.” —The Times (London)

Shortlisted for the 2020 Association for the Study of the Arts of the Present Book Prize​ Winner of the 2019 Art Journal Prize from the College Art Association What is the role of pleasure and pain in the politics of art? In Touched Bodies, Mara Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy. Based on original documents and innovative readings, her book brings politics and ethics to the discussion of artistic developments during the “long 1980s”. She describes the rise of performance art in the context of feminism, HIV-activism, and human right movements, taking a close look at the work of Diamela Eltit and Raúl Zurita from Chile, León Ferrari and Liliana Maresca from Argentina, and Marcos Kurtycz, the No Grupo art collective, and Proceso Pentágono from Mexico. The comparative study of the work of these artists attests to a performative turn in Latin American art during the 1980s that, like photography and film before, recast the artistic field as a whole, changing the ways in which we perceive art and understand its role in society.

Following the convening of Hong Kong International Poetry Nights 2013, The World of Words is a collection of selected works by some of the most internationally acclaimed poets today. The poem of "The Sea" by Raul Zurita (Chile) is finest contemporary poetry in trilingual or bilingual presentation.

Through the disruptive and fiercely inventive voice of a postmodern master, Raúl Zurita's Purgatory, a landmark in contemporary Latin American poetry, records the physical, cultural, and spiritual violence perpetrated against the Chilean people under Augusto Pinochet's military dictatorship (1973-90). --from publisher's description.