A collection of favorite poems. One of them is by Stephen Crane, who wrote: "I saw a man pursuing the horizon; / Round and round they sped. / I was disturbed at this; / I accosted the man. It's futile, I said, / You can never ̓/ You lie, he cried, / And ran on."

First published by New Directions in 1940, In the Money is a sequel to White Mule, and the second volume in Dr. Williams's "Stecher Trilogy," but it also stands alone as a novel complete in itself. White Mule is a study of childhood--of the baby Flossie Stecher and her sister Lottie, and their parents, Joe and Gurlie Stecher, of German and Norwegian origin, living in New York before the first World War. In the Money is Joe Stecher's success story--the tale of his fight against graft and injustice to found his own business and get "into the money." Joe is by nature quiet and reserved. But his wife Gurlie is full of ambition and drives him on toward the things she wants--position and a home of her own. It is a simple story, yet a meaningful one--a typical American situation. As a novelist, one of Dr. Williams's strengths is his striking use of detail, an "objectivism," related to the style of his poetry; which achieves great, even symbolic force in its enlargement of the minutiae of American life and character.

Library of America offers the most complete collection ever published of Nathanael West's writings. Along with the four novels for which he is famous, this authoritative collection gathers stories, poetry, essays and plays, film scripts and treatments, and letters. In the Dada-inspired The Dream Life of Balso Snell (1931), he freely mixes high-flown literary and religious allusions with erotic and scatological humor. Miss Lonelyhearts (1933) presents, in a series of grotesque, starkly etched episodes, the spiritual breakdown of a newspaper columnist overwhelmed by his readers’ suffering. By contrast, A Cool Million (1934) reduces the eternal optimism of Horatio Alger’s novels to a brutal, cartoonish farce. In his last work, The Day of the Locust (1939), West renders with hallucinatory precision the reverse side of the Hollywood dream, as he choreographs a cast of failures, has-beens, and deluded glamour-seekers in what becomes an apocalyptic dance of death. Also included is a generous sampling of West’s other surviving work, ranging from freewheeling improvisations and grotesque comic tales to more mainstream work written with Hollywood or Broadway in mind, and including his anti-war satire Good Hunting and his adaptation of Francis Ile’s famous crime novel Before the Fact. The uncollected West shows him as a writer who embodied the contradictions and crazy-quilt exuberance of American culture—and raises the question of how he might have developed had his career not been cut short. Selected correspondence with William Carlos Williams, F. Scott Fitzgerald, Malcolm Cowley, Bennett Cerf, and others rounds out the volume and sets West’s literary life in fuller context. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

The unofficial bible of the French Symbolist movement, admired by Mallarmé, Jarry and Gide, in a new translation When Marcel Schwob published The Book of Monelle in French in 1894, it immediately became the unofficial bible of the French Symbolist movement, admired by such contemporaries as Stéphane Mallarmé, Alfred Jarry and André Gide. A carefully woven assemblage of legends, aphorisms, fairy tales and nihilistic philosophy, it remains a deeply enigmatic and haunting work more than a century later, a gathering of literary and personal ruins written in a style that evokes both the Brothers Grimm and Friedrich Nietzsche. The Book of Monelle was the result of Schwob's intense emotional suffering over the loss of his love, a "girl of the streets" named Louise, whom he had befriended in 1891 and who succumbed to tuberculosis two years later. Transforming her into the innocent prophet of destruction, Monelle, Schwob tells the stories of her various sisters: girls succumbing to disillusionment, caught between the misleading world of childlike fantasy and the bitter world of reality. This new translation reintroduces a true fin-de-siècle masterpiece into English. A secret influence on generations of writers, from Guillaume Apollinaire and Jorge Luis Borges to Roberto Bolaño, Marcel Schwob (1867-1905) was as versed in the street slang of medieval thieves as he was in the poetry of Walt Whitman (whom he translated into French). Paul Valéry and Alfred Jarry both dedicated their first books to him, and he was the uncle of Surrealist photographer Claude Cahun.

The second volume of Jane Yolen's fantasy anthology series contains original stories and poetry by Ursual K. Le Guin, Barbara Hambly, Carol Janes Bangs, Marvin Bell, Patricia McKillip, Delia Sherman, Susan Solomont, Richard Kearns, Diane Duane, and Barbara Can Noord, and 26 others. A diverse collection of the best in original short fantasy.

Deborah Eisenberg is nearly unmatched in her mastery of the short story form. Now, in her newest collection, she demonstrates once again her virtuosic abilities in precisely distilled, perfectly shaped studies of human connection and disconnection. From a group of friends whose luck in acquiring a luxurious Manhattan sublet turns to disaster as their balcony becomes a front-row seat to the catastrophe of 9/11; to the Roman holiday of a schoolteacher running away from the news of her ex-husband's life-threatening illness, and her unlikely guide, a titled art scout in desperate revolt against his circumstances and aging; to the too painful love of a brother for his schizophrenic sister, whose tragic life embitters him to the very idea of family, Eisenberg evokes, in brooding passionate and brilliant prose, a brutally honest portrait of our lives today, showing us truths which are both poetic and deeply political. 'Like Alice Munro, virtually her only equal in the field, Deborah Eisenberg seems incapable of writing a bad short story . . . Eisenberg's writing at times approaches the beauty of a line of poetry. She manipulates her readers with a master's blend of humor and poignancy. Her stories are wondrous' San Francisco Chronicle

The Book of Dede Korkut is a collection of twelve stories set in the heroic age of the Oghuz Turks, a nomadic tribe who had journeyed westwards through Central Asia from the ninth century onwards. The stories are peopled by characters as bizarre as they are unforgettable: Crazy Karchar, whose unpredictability requires an army of fleas to manage it; Kazan, who cheerfully pretends to necrophilia in order to escape from prison; the monster Goggle-eye; and the heroine Chichek, who shoots, races on horseback and wrestles her lover. Geoffrey Lewis's classic translation retains the odd and oddly appealing style of the stories, with their mixture of the colloquial, the poetic and the dignified, and magnificently conveys the way in which they bring to life a wild society and its inhabitants. This edition also includes an introduction, a map and explanatory notes.

In Roomanitarian, popular author, actor, musician, and spoken-word artist Henry Rollins returns to the combative prose that has won him critical acclaim and a legion of devoted fans. The book is divided into three parts: The first section, "Walking the Chasm,” written in the form of a poem, epitomizes Rollins’s beautifully stark, hard-hitting style. The second part, "Ended," is a series of short prose pieces reminiscent of Solipsist. Finally, the biting humor and social commentary Rollins is renowned for is on full display in "To Ann Hitler with Love," a series of mock love letters to a fictional woman who bears a striking resemblance to conservative pundit Ann Coulter.

"Claudio Bianchi has lived alone for many years on a hillside in Southern Italy's scenic Calabria. Set in his ways and suspicious of outsiders, Claudio has always resisted change, preferring farming and writing poetry. But one chilly morning, as though from a dream, an impossible visitor appears at the farm. When Claudio comes to her aid, an act of kindness throws his world into chaos. Suddenly he must stave off inquisitive onlookers, invasive media, and even more sinister influences" -- provided by publisher.

"Israeli writer Shaham explores the beams and pilings of a special mode of Zionist life--that of the kibbutz--and, especially in the first and third novellas here, lays out the psychologies of some of the pioneers with almost case-file (if undramatic) precision. In "S/S Cairo City," a delegate to a 1939 Geneva Zionist convention writes a series of letters to a lover, another delegate, who has left (disastrously) to return to Poland. As Hitler throws shadows which many of the Zionists are not yet ready to accept, they are nevertheless grateful to jam aboard a Palestine-bound Egyptian ship out of Marseilles; on the ship, Shaham probes the skepticisms of men-ideologues being turned into plain victims by what they're fleeing. ("Kuperberg spoke about the congress. He was not at all impressed with certain speeches that I found deeply moving. He said Zionism tends to be like manna. It gives the Western Jew a taste of Yiddishkeit, while to the Eastern Jew it holds forth a promise of Europe.") The last novella--"The Salt of the Earth"--is about an old kibbutznik's first trip to America--and seems like an ironic variation on the opening story; New York literally kills, the old man, hostile to every vision of social life for which he's striven back at home (and knows he's losing there, too). And the central, title novella is where Shaham shows his hand at deeper narrative: a bookish young kibbutz woman becomes erotic guardian over her married neighbor's clandestine love life--as the situation of universal daily sharing builds up such an edifice of public virtue that private weakness becomes downfall, destruction. Like Amos Oz, whose subject matter is similar, Shaham is delicate, historical, unillusioned, undogmatic; Oz's poetry is lacking here, but Shaham may have the edge in social perspicacity."-- Kirkus

Since emigrating to the U.S. from his native Romania in 1966, Andrei Codrescu has blazed a rocket-bright trail across the cultural landscape of his adopted country, gaining a national audience as public radio commentator, television personality and editor of the radical literary journal Exquisite Corpse. He has also commanded considerable critical recognition for his poetry (Alien Candor, Black Sparrow, 1996), and fiction (most notably, his novel about his Transylvanian homeland, The Blood Countess, 1995).

The language of love can be beautiful or bawdy, naively simple or boldly salacious, elegantly baroque or course and common梠r, in certain moments, a wild mixture of all of these. Louis Untermeyer has gathered the world抯 greatest erotica in verse, ranging from the Bible to the present day. The most renowned poets of all time are represented in this fresh collection where freedom of range is matched by an equal freedom of speech in writing about sexual love. From Ovid to Swinburne, from Chaucer to E.E. Cummings, from Queen Elizabeth to Emily Dickinson, the poetry burns with mounting emotion and smolders with importunate pleadings, aggravating delays, passionate fulfillment or, alas, painful frustration. Here are the unexplored extremes encompassed by well-loved poets, the outspoken sensuality in the union of love and lust, and the earthy celebration of carnal pleasure. Here in more than six hundred poems, are the infinite variations in the traditional battle of the sexes: the gallant approach, the tentative flirtation, the provocative badinage, the coy denial, the gradually permitted intimacy, the timid or breathless consent, and the finally shared extremity of passion.

Product Description Through the Drowsy Dark collects ten stories and nine poems by Nebula- and Hugo-nominee Rachel Swirsky, “a terrific writer who’s been making a name for herself with a string of intelligent, perceptive stories,” as critic Jonathan Strahan characterizes her. In Through the Drowsy Dark, Swirsky's characters struggle with too much and too little emotional control, with heartbreak, with grief that has gone deep underground; they search for nothingness, for difference, for oneness. One commits a terrible crime because she believes it's the moral thing to do, while another digs up a dead dog because the very thought of kissing it on the lips makes her clitoris throb. Swirsky's explorations of the heart and mind are fearless—and dangerous fictions indeed. About the Author Rachel Swirsky is a graduate of the Clarion West Writers Workshop and has an MFA from the Iowa Writers Workshop. Her short fiction has been nominated for the Hugo, Nebula, and Locus Awards. She lives in Bakersfield, California.

"To all those who have for several years sought to discredit the new American literature, Lawrence Ferlinghetti has just dealt a most powerful blow," wrote French critic Pierre Lepape in 1961 when Her was published in France as La Quatrième Personne du Singulier. Calling it "a masterpiece of the young American novel," Lepape declared it was "the confirmation of a great American writer who, in the hall of American literary glories, takes the place left vacant by the death of Hemingway." Lepape went on to speak of the "incredible verbal virtuosity" by which the reader is led through this "laby-rêve," and it is this image of the "labyrinth-dream" which relates Her to the anti-novels of the young French school of Robbe-Grillet and Butor. Being thus very far from the kind of novels produced by Ferlinghetti's immediate contemporaries (whether Beat or academic) this book has met with little but bafflement among American critics. With well over 50,000 now in print Her nevertheless continues to make its own way.

When a young man pays an unconscionable amount of money for a book of poetry, he suspects he may have been cheated and turns to a law clerk named Bland to play detective. A series of events lead the reader through forgery claims, black market traders, robbery, intrigue and murder.

Open City features a dynamic mix of prominent writers, undiscovered aspirants, and lost treasures from writers of past eras. Including fiction, essays, poetry, and artwork by an exciting range of talents, Open City has presented new works by Michael Cunningham, Deborah Garrison, Rick Moody, David Foster Wallace, Geoffrey O'Brien, Sam Lipsyte, Meghan Daum, David Berman, and previously unpublished work by Delmore Schwartz, Richard Yates, Edvard Munch, and Ford Madox Ford. Praised in the pages of publications such as Harper's Bazaar, Library Journal, and The New York Times, Open City is today's most important literary journal. Open City #14 includes John Seabrook on ancestor hunting; Arthur Nersessian, from Fuck-Up to makeup; new fiction by Betsy Bern and Martha McPhee; and the original treatment for the improvised cult-classic film Waiting for Guffman.

Who says summer reading means a lurid potboiler or sleazy celeb tell-all? Not "Tin House." Renowned for its beautiful design as well as its compelling content, the award-winning "Tin House" is a multisensory delight, as popular with critics as it is with readers. Each issue features the best writers of the day alongside a new generation of talent who are poised to become the most important voices of the future. Its summer issue offers an eclectic collection of short stories, profiles, author interviews, poetry, and essays, as well as unique departments such as Lost and Found, reviews of overlooked or underrated books, and Blithe Spirits and "Readable Feast, which present tales and recipes for drinks and food in a literary way. Breezy, sunny, funny, and always thought-provoking, "Tin House Summer Reading 2009" is beach reading for the smart set."

A splendid, violent spring suddenly grips Bucharest in the 1980s after a brutal winter. Tolea, a defiant and eccentric middle-aged intellectual who has been dismissed from his job as a high-school teacher on "moral grounds", is attempting to clear up the mystery of his father's death forty years after the fact. He is gradually and irresistibly drawn into a web of suspicion in which images of an underground world linger obsessively: the organization of deaf-mutes whose nightmarish presence recalls the Single Party itself; the polite and timid informer, with his modest, homely reports; the black dog who has the same name as, and seems to be a metamorphosis of, the man pursued by Tolea - an elusive photographer who has left an astonishing photo archive of Communist society. Shot through with black humor and poetry, The Black Envelope is a thoroughly modern exploration of love and guilt, vulnerability and death, estrangement, hope, and human solidarity.

The debut poetry collection from one of feminism’s most passionate voices, with a new preface by the author Well before Robin Morgan was known as a feminist leader, literary magazines published her as a serious poet, and in 1979 she received a National Endowment for the Arts Creative Writing Fellowship in poetry. Monster, her first collection, originally published in 1972, contains work that will astonish, disorient, and move readers in powerful ways. But Monster is more than just a book; it has become a phenomenon. Written at a time of political turmoil during the birth of contemporary feminism, the title poem was adopted by women as the anthem of the women’s movement; it was chanted at demonstrations and some of its lines became slogans. “Arraignment” stirred an international controversy over Ted Hughes’s influence on Sylvia Plath’s suicide—complete with lawsuits, the banning of this book, and the publication of underground, pirated feminist editions, all of which Morgan reveals in her new preface. From her well-wrought poems in classical forms to the searing energy and poignant lyricism of the longer, later ones, Morgan’s work when it was first released spoke to women hungry for validation of their own reality—and the book sold thirty thousand copies in hardcover alone in its first six months, which was unheard of for poetry. Available now for the first time in years, Monster is an intense, propulsive journey deep into the heart of one of feminism’s greatest heroes.