This collection by the Uruguayan-born French poet Jules Supervielle (1884-1960) contains ten tales and two chapters from his memoir, Uruguay, along with seventeen poems. To read his tales and poems is exhilarating, spun out as they are in his distinctive voice: rueful, funny, forthright, tender, sometimes bitingly satiric, by turns lyrical and abrupt. Though still relatively unknown in the English-language world, Supervielle's works have been canonized in the prestigious Bibliotheque de la Pleiade and many of his titles have remained in print to this day. All of the poems are presented in French and English; the prose appears only in English. Translated by Nancy Kline, Patricia Terry, and Kathleen Micklow. Book jacket.

Temporarily in Surrealist Radio box in Restricted Loan.

You Flower / You Feast is an anthology of poetry, prose, and plays inspired by the music, life, and cultural aesthetic created and lived by Harry Styles. With work from 33 artists and writers, YFYF has become a benchmark in pop culture creative writing.

The Woman on the Bridge over the Chicago River is Allen Grossman's first collection with New Directions. His voice is astonishingly contemporary, his often dissociated imagery bordering on the surreal--yet one hears in his verse classical and Biblical echoes and, on occasion, darker medieval undertones. The brilliance of his imagination works against a measured eloquence, setting up a fine-edged tension not unlike the prophetic verse of William Blake, the wild dithyrambs of David, or the more controlled metrics of Catullus and Villon.

With Exile, Robert Nichols concludes his innovative utopian tetralogy, Daily lives in Nghsi-Altai. Thus far, we have peered at this imaginary central Asian land through the eyes of exploring Westerners and the inhabitants themselves, learning the ways of both city dwellers and country folk.

Acclaimed poet and translator, editor of such ground-breaking journals and anthologies as Alcheringa and Technicians of the Sacred, pioneer in the fields of performance poetry and ethnopoetics, Jerome Rothenberg is a literary radical and a major force in American poetry. Gathered here in his New Selected Poems 1970-1985 are pivotal poems from four previous New Directions collections, Poland/1931 (1974), A Seneca Journal (1978), Vienna Blood (1980), and That Dada Strain (1983). Rothenberg describes his new selection as "an attempt to isolate in the work of the last fifteen years (and a little more) the thread of a single long poem or sequence [in which] figures and voice's without context in the earlier books...find a location and a shape." Open-ended, explorative, and exuberantly and irreverently epic, the sequence ends with two new and previously uncollected poems, "15 Flower World Variations" and "Visions of Jesus."

Vernon Watkins (1906-1967) was born in Maesteg, South Wales. He was a part of the cryptography team that broke the enigma code. After the war he spent most of his career as a cashier at Lloyds Bank in Cardiff but published eight books of poetry during his lifetime. Fidelities was written while he was a Visiting Professor at the University of Washington in Seattle, and was published posthumously. His close friends included W.B. Yeats, T.S. Eliot, Philip Larkin, Dylan Thomas, and Kathleene Raine, who called him "the greatest lyric poet of my generation." Watkins was being considered for poet laureate at the time of his death.

The third volume of Robert Nichols’s utopian tetralogy, Daily Lives in Nghsi-Altai. In the previous books (Arrival and Garh City), we were treated to tantalizing glimpses of the imaginary central Asian country of Nghsi-Altai seen through the eyes of three travelers from the West, followed by an investigation of the city in a technologically advanced society which yet maintains an elaborate, "primitive" kinship system. We now turn to six narratives of village life, focusing on members of the Harditt family. Maddi, a twelve-year-old schoolgirl; Dhillon, a farm apprentice; his married older brother, Srikant -- these are the Harditt children of earlier volumes. "Women in Middle Age" tells of Sathan, their mother, and Nanda, their aunt, and the workings of the matriarchy in Sawna. An account is then given of the death of the grandfather, Old Harditt, and his translation into the family’s Ancestor Society. And finally, we see Venu, Sathan’s husband, as an elected official of the Wind Brotherhood of solar engineers. These are not, however, tales of individuals in the usual sense but probes in the web of relationships that constitutes a communal society, the widening circle of clan, tribe, and phratry. Each story, moreover, reveals an aspect of a delicate political-industrial balance -- for the world of Nghsi-Altai is modern, indeed a paradigm of an alternate society.