On the billionth birthnight of the full moon, the moon finally gets what she's really wanted--a nightgown such as people on Earth wear.

Transcripts of interviews conducted by David Ossman in the early 1960s with modern poets

The most complete and current edition of Dylan Thomas' collected poetry in a beautiful gift edition celebrating the centenary of his birth The reputation of Dylan Thomas (1914-1953) as one of the greatest poets of the twentieth century has not waned in the fifty years since his death. A Welshman with a passion for the English language, Thomas’s singular poetic voice has been admired and imitated, but never matched. This exciting, newly edited annotated edition offers a more complete and representative collection of Dylan Thomas’s poetic works than any previous edition. Edited by leading Dylan Thomas scholar John Goodby from the University of Swansea, The Poems of Dylan Thomas contains all the poems that appeared in Collected Poems 1934-1952, edited by Dylan Thomas himself, as well as poems from the 1930-1934 notebooks and poems from letters, amatory verses, occasional poems, the verse film script for “Our Country,” and poems that appear in his “radio play for voices,” Under Milk Wood. Showing the broad range of Dylan Thomas’s oeuvre as never before, this new edition places Thomas in the twenty-first century, with an up-to-date introduction by Goodby whose notes and annotations take a pluralistic approach.

Describes the life and times of the Nobel Prize-winning Chilean poet.

Interviews with modern American poets Kenneth Rexroth, Paul Carroll, Paul Blackburn, Jerome Rothenberg, Robert Kelly, Robert Bly, John Logan, Gilbert Sorrentino, Robert Creeley, W.S. Merwin, Denise Levertov, LeRoi Jones, Edward Dorn, and Allen Ginsberg.

The mysterious true story of Connie Converse—a mid-century New York City songwriter, singer, and composer whose haunting music never found broad recognition—and one writer’s quest to understand her life This is the mesmerizing story of an enigmatic life. When musician and New Yorker contributor Howard Fishman first heard Connie Converse’s voice on a recording, he was convinced she could not be real. Her recordings were too good not to know, and too out of place for the 1950s to make sense—a singer who seemed to bridge the gap between traditional Americana (country, blues, folk, jazz, and gospel), the Great American Songbook, and the singer-songwriter movement that exploded a decade later with Bob Dylan and Joni Mitchell. And then there was the bizarre legend about Connie Converse that had become the prevailing narrative of her life: that in 1974, at the age of fifty, she simply drove off one day and was never heard from again. Could this have been true? Who was Connie Converse, really? Supported by a dozen years of research, travel to everywhere she lived, and hundreds of extensive interviews, Fishman approaches Converse’s story as both a fan and a journalist, and expertly weaves a narrative of her life and music, and of how it has come to speak to him as both an artist and a person. Ultimately, he places her in the canon as a significant outsider artist, a missing link between a now old-fashioned kind of American music and the reflective, complex, arresting music that transformed the 1960s and music forever. But this is also a story of deeply secretive New England traditions, of a woman who fiercely strove for independence and success when the odds were against her; a story that includes suicide, mental illness, statistics, siblings, oil paintings, acoustic guitars, cross-country road trips, 1950s Greenwich Village, an America marching into the Cold War, questions about sexuality, and visionary, forward thinking about race, class, and conflict. It’s a story and subject that is by turn hopeful, inspiring, melancholy, and chilling.

A New York Times Notable Book: A memoir of the writing life of Jim Harrison, from hardscrabble years to high-profile Hollywood friendships, “as engaging as it is eccentric” (The Washington Post Book World). In this “sprawling, impressionistic memoir”, which was selected as a New York Times Notable Book of the Year, Jim Harrison chronicles his coming-of-age, from a boy drunk with books to a young man making his way among fellow writers he deeply admires—including Peter Matthiessen, Robert Lowell, W.H. Auden, Truman Capote, Tennessee Williams, and Allen Ginsberg (The New York Times Book Review). Harrison discusses forthrightly the life-changing experience of becoming a father, and the minor cognitive dissonance that ensued when this boy from the heartland somehow ended up a highly paid Hollywood screenwriter. He gives free rein to his seven obsessions—alcohol, food, stripping, hunting and fishing (and the dogs who have accompanied him in both), religion, the road, and our place in the natural world—which he elucidates with earthy wisdom and an elegant sense of connectedness. Off to the Side is a work of great beauty and importance, a triumphant achievement that captures the writing life and brings all of us clues for living. A true masterpiece of memoir from an author whose “writing bears earthy whiffs of wild morels and morals and of booze and botany, as well as hints of William Faulkner, Louise Erdrich, Herman Melville, and Norman Maclean.” (San Francisco Chronicle) “This fine memoir is a worthy capstone to a fascinating career.” —Publishers Weekly

This is the journal of Joe Necchi, a junkie living on a barge that plies the rivers and bays of New York. Joe's world is the half-world of drugs and addicts -- the world of furtive fixes in sordid Harlem apartments, of police pursuits down deserted subway stations. Junk for Necchi, however, is a tool, freely chosen and fully justified; he is Cain, the malcontent, the profligate, the rebel who lives by no one's rules but his own. Like DeQuincey and Baudelaire before him, Trocchi's muse was drugs. But unlike his literary predecessors, in his roman a clef, Trocchi never romanticizes the source of his inspiration. If the experience of heroin, of the "fix," is central to Cain's Book, both its destructive force and the possibilities for creativity it creates are recognized and accepted without apology. "Cain's Book is the classic late-1950s account of heroin addiction. . . . An un-self-forgiving existentialism, rendered with writerly exactness and muscularity, set this novel apart from all others of the genre." -- William S. Burroughs

In Copyright's Arc, Martin Skladany rejects a one-size-fits-all copyright regime. Within developed countries, copyright's incentives have spawned multinational corporations that create a plethora of slick, hyped entertainment options that encourage Americans to overconsume, whereas in developing countries, extreme copyright blocks the widespread distribution of entertainment, which impedes women's equality and human rights movements. Meanwhile, moderate copyright in middle-income countries helps foster artistic movements that forge inclusive national identities. Given these conditions, Skladany argues that copyright should vary between countries, following an arc across the development spectrum.