"Nostalgia for Death" is the sole book of Villaurrutia, who was one of the few openly homosexual Latin American writers and one of Mexico's most important authors of the early twentieth century. "The latest of Eliot Weinberger's brilliant translations of Latin American poets brings to English the major volume of an impeccable Mexican modernist."--"Booklist"

Presented in Eliot Weinberger's excellent new translation with the Spanish texts en face, this is the 1957 poem "that definitively established Paz as a major international figure" (Sagetrieb). Written as a single cyclical sentence (at the end of the poem the first six lines are written again), Sunstone is a tour de force of momentum. It takes as its structural basis the circular Aztec calendar, which measured the synodic period of the planet Venus (584 days the number of lines of Sunstone). But, as The New Republic noted, "this esoteric correlative design...does not circumscribe its subject. It is] a lyrically discursive exploration of time and memory, of erotic love, or art and writing."

A book-length poem by “our best living literary essayist” (Forrest Gander).

For over fifty years Eliot Weinberger has been celebrated for his innovative literary and political essays―translated into over thirty languages―as well as his trailblazing translations from the Spanish. In his exquisite new book The Life of Tu Fu, Weinberger has composed a montage of fifty-eight poems that capture the life and times of the great Tang Dynasty poet Tu Fu (712–770 AD). As he writes in a note to the edition, “This is not a translation of individual poems, but a fictional autobiography of Tu Fu derived and adapted from the thoughts, images, and allusions in the poetry.”

Through lines as penetrating as a classical tanka and as fluid as a mountain stream, themes of endless war and ongoing pandemic surround the wandering life of the ancient Chinese master.

Nobel Laureate Octavio Paz is incontestably Latin America's foremost living poet. The Collected Poems of Octavio Paz is a landmark bilingual gathering of all the poetry he has published in book form since 1952, the year of his premier long poem, Sunstone (Piedra de Sol) here translated anew by Eliot Weinberger made its appearance. This is followed by the complete texts of Days and Occasions (Dias Habiles), Homage and Desecrations (Homenaje y Profanaciones), Salamander (Salamandra), Solo for Two Voices (Solo a Dos Voces), East Slope (Ladera Este), Toward the Beginning (Hacza el Comienzo), Blanco, Topoems (Topoemas), Return (Vuelta), A Draft of Shadows (Pasado en Claro), Airborn (Hijos del Aire), and Paz's most recent collection, A Tree Within (Arbol Adentro). With additional translations by Elizabeth Bishop, Paul Blackburn, Lysander Kemp, Denise Levertov, John Frederick Nims, and Charles Tomlinson."

With exacting rigor and wit, Howe pulls Dickinson free of all the sterile and stuffy belle-of-Amherst cotton wool and shows the poet in touch with elemental forces of nature, and as a prophet in all her radical zealotry and poetic glory. Her Emily Dickinson is a unique American genius, a demon lover of poetry no neurasthenic spider artist. Howe draws into her discussion Browning, Wuthering Heights, the Civil War, "Master," the great Puritan preachers, captivity narratives, Shakespeare, and phantom lovers. As she chases away narrow and reductive feminist readings of the poet, Howe finds instead a radically powerful and true feminism at work in Dickinson, focusing the whole on that heart-stopping poem "My Life had stood a Loaded Gun." A remarkable and passionate poet-on-poet engagement, My Emily Dickinson frees a great poet from the fetters of being read as a special female neurotic, and sets her against a fiery open sky where "Perception of an object means loosing and losing it...only Mutability certain." My Emily Dickinson won The Before Columbus Foundation Book Award."

This selected edition presents an overview of all of Huidobro's work, from 1914 until 1948, when his final, posthumous volume was published. moving from the early symbolist work, though the high avant-garde phase towards the end of the First World War, then through the phase of Altazor and Temblor de cielo (Skyquake), the highpoint of his career (both published 1931), and on into the quieter late poetry which synthesises the previous work and settles down into a post-vanguard style. Also includes manifestos and interviews.

In "Human Documents," Robert Gardner introduces the work of photographers with whom he has worked over a period of nearly fifty years under the auspices of the Film Study Center at Harvard. Their images achieve the status of what Gardner calls "human documents": visual evidence that testifies to our shared humanity. In images and words, the book adds to the already significant literature on photography and filmmaking as ways to gather both fact and insight into the human condition. In nearly 100 images spanning geographies and cultures including India, New Guinea, Ethiopia, and the United States, Human Documents demonstrates the important role photography can play in furthering our understanding of human nature and connecting people through an almost universal visual language.

Author and cultural critic Eliot Weinberger contributes the essay "Photography and Anthropology (A Contact Sheet)," in which he provides a new and intriguing context for viewing and thinking about the images presented here.

With photographs by Michael Rockefeller, Robert Gardner, Kevin Bubriski, Adelaide de Menil, Christopher James, Jane Tuckerman, Susan Meiselas, and Alex Webb.

Like A New Sun features poetry from Huastecan Nahuatl, Isthmus Zapotec, Mazatec, Tsotsil, Yucatec Maya, and Zoque languages. Co-edited by Isthmus Zapotec poet Victor Teran and translator David Shook, this groundbreaking anthology introduces six indigenous Mexican poets--three women and three men--each writing in a different language. Well-established names like Juan Gregorio Regino (Mazatec) appear alongside exciting new voices like Mikeas Sanchez (Zoque). Each poet's work is contextualized and introduced by its translator. Foreword by Eliot Weinberger. Poets include Victor Teran (Isthmus Zapotec), Mikeas Sanchez (Zoque), Juan Gregorio Regino (Mazatec), Briceida Cuevas Cob (Yucatec Maya), Juan Hernandez (Huastecan Nahuatl), and Enriqueta Lunez (Tsotsil).

The Poems of Octavio Paz is the first retrospective collection of Paz's poetry to span his entire writing career from his first published poem, at age seventeen, to his magnificent last poem. This landmark bilingual edition contains many poems that have never been translated into English before, plus new translations based on Paz's final revisions. Assiduously edited by Eliot Weinberger-who has been translating Paz for over forty years-The Poems of Octavio Paz also includes translations by the poet-luminaries Elizabeth Bishop, Paul Blackburn, Denise Levertov, Muriel Rukeyser, and Charles Tomlinson. Readers will also find Weinberger's capsule biography of Paz, as well as notes on many poems in Paz's own words, taken from various interviews he gave throughout his long and singular life.

For the past twenty years, Eliot Weinberger has been taking the essay far beyond the borders of literary criticism or personal journalism and into the realm of poetry and narrative. Full of stories, yet written in a condensed, imagistic language, his essays are works of the imagination where all the facts are verifiable. As entertaining as fiction and as vivid as poems, making unexpected stops in odd corners of the globe or forgotten moments in human history, erudite, politically engaged, and acerbically witty, there is nothing quite like his work in contemporary writing.

In Karmic Traces, Weinberger's third collection from New Directions, twenty-four essays take the reader along on the author's personal travels from the Atacama Desert to Iceland to Hong Kong on the verge of the handover to China, as well as on imagined voyages in a 17th-century Danish ship bound for India and among strange religious cults or even stranger small animals. One never knows what will appear next: Viking dreams, Aztec rituals, Hindu memory, laughing fish, or prophetic dogs. And, in "The Falls", the long tour-de-force that closes the book, Weinberger recapitulates 3,000 years of history in a cascade of telling facts to uncover the deep roots of contemporary racism and violence.

The Ghosts of Birds offers thirty-five essays by Eliot Weinberger: the first section of the book continues his linked serial-essay, An Elemental Thing, which pulls the reader into "a vortex for the entire universe" (Boston Review). Here, Weinberger chronicles a nineteenth-century journey down the Colorado River, records the dreams of people named Chang, and shares other factually verifiable discoveries that seem too fabulous to possibly be true. The second section collects Weinberger's essays on a wide range of subjects-some of which have been published in Harper's, New York Review of Books, and London Review of Books-including his notorious review of George W. Bush's memoir Decision Points and writings about Mongolian art and poetry, different versions of the Buddha, American Indophilia ("There is a line, however jagged, from pseudo-Hinduism to Malcolm X"), Bela Balazs, Herbert Read, and Charles Reznikoff. This collection proves once again that Weinberger is "one of the bravest and sharpest minds in the United States" (Javier Marias).

The difficulty (and necessity) of translation is concisely described in Nineteen Ways of Looking at Wang Wei, a close reading of different translations of a single poem from the Tang Dynasty-from a transliteration to Kenneth Rexroth's loose interpretation. As Octavio Paz writes in the afterword, "Eliot Weinberger's commentary on the successive translations of Wang Wei's little poem illustrates, with succinct clarity, not only the evolution of the art of translation in the modern period but at the same time the changes in poetic sensibility."

It will come as a surprise to some readers that the greater part of Jorge Luis Borges's extraordinary writing was not in the genres of fiction or poetry, but in the various forms of non-fiction prose. His thousands of pages of essays, reviews, prologues, lectures, and notes on politics and culture--though revered in Latin America and Europe as among his finest work--have scarcely been translated into English.

Selected Non-Fictions presents a Borges almost entirely unknown to American readers. Here is the dazzling metaphysician speculating on the nature of time and reality and the inventions of heaven and hell, and the almost superhumanly erudite reader of the world's literatures, from Homer to Ray Bradbury, James Joyce to Lady Murasaki. Here, too, the political Borges, taking courageous stands against fascism, anti-Semitism, and the Peron dictatorship; Borges the moive critic, on King Kong and Citizen Kane and the Borgesian art of dubbing; and Borges the regular columnist for the Argentine equivalent of the Ladies' Home Journal, writing hilarious book reviews and capsule biographies of modern writers.

The first comprehensive selection of this work in any language, Selected Non-Fiction presents over 160 of these astonishing writings, from his youthful manifestos to his last meditations on his favorite books. More than a hundred of these pieces have never before appeared in English, and all have been rendered in brilliant new translations by Esther Allen, Suzanne Jill Levine, and Eliot Weinberger. This unique selection, the third and final volume in Penguin's centenary edition of the Collected Work in English, presents Borges as at once a deceptively self-effacing guide to the universe and the inventor of a universe that is an idispensable guide to Borges.

Often compared with Apollinaire as the first and liveliest avant-garde poet in his language, Vicente Huidobro was a one-man movement ("Creationism") in the modernist swirl of Paris and Barcelona between the two World Wars. His masterpiece was the 1931 book-length epic Altazor, a Machine Age paean to flight that sends its hero (Altazor, the "antipoet") hurtling through Einsteinian space at light speed. Perhaps the fastest-reading long poem of the century, and certainly the wildest, Altazor rushes through the universe in a lyrical babble of bird-languages, rose-languages, puns, neologisms, and pages of identical rhymes, finally ending in the pure sound of the language of the future. Universally considered untranslatable until the appearance of Eliot Weinberger's celebrated version in 1988, Altazor appears again in an extensively revised translation with an expanded introduction.

A milestone of modern poetry, American history comes to life in the actual words of victims and criminals in its courts. Taking as its raw material the voices of witnesses, victims, and perpetrators discovered by the author in criminal court transcripts, Charles Reznikoff’s book-length poem sets forth a stark panorama of late 19th and early 20th century America—the underside of the Gilded Age, beset by racism and casual violence, poverty and disease. In radically stripped-down language of tremendous intensity, Reznikoff’s poem is an unforgettable reading experience. This edition also includes Reznikoff’s prose studies for the poem, unavailable to readers since the 1930s, and a new introduction by critic and essayist Eliot Weinberger.

Part of our revived "Poetry Pamphlet" series, Two American Scenes features two masters of the essay discussing "found material."

Excerpts:

It was given to me, in the nineteenth century, to spend a lifetime on this earth. Along with a few of the sorrows that are appointed unto men, I have had innumerable enjoyments; and the world has been to me, even from childhood, a great museum.

Lydia Davis

Bad rapids. Bradley is knocked over the side; his foot catches under the seat and he is dragged, head under water. Camped on a sand beach, the wind blows a hurricane. Sand piles over us like a snow-drift.

Eliot Weinberge"

Unpredictable and uncanonical, Eliot Weinberger's essays are the "outside stories" of cultural migrations. The fifteen pieces collected here range from the history of the Salman Rushdie affair to the dream of Atlantis, from the turf wars among ethnographic filmmakers to the unlikely romance between poetry and espionage, from the pilgrims in Plymouth to the students in Tiananmen Square. Above all, Weinberger's concern is poetry--whether written in medieval Baghdad or by Mexicans in Japan--and the perennially underground yet global network through which it travels. With his modernist sensibility and internationalist perspective, Weinberger's inventive prose transports old myths and texts to the strange realities of contemporary life.

Modern American poets translate classical Chinese poetry. The New Directions Anthology of Classical Chinese Poetry is a rich compendium of translations like no other. It is the first to look at Chinese poetry through its enormous influence on American poetry, starting with Ezra Pound's Cathay (1915), and including translations by three other major U.S. poets (William Carlos Williams, Kenneth Rexroth, Gary Snyder) and an important poet-translator-scholar (David Hinton), all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets, from the anonymous early poetry through the great masters of the Tang and Sung dynasties. The anthology also includes previously uncollected translations by Pound, a selection of essays on Chinese poetry by all five translators, some never published before in book form, and biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves. Translator, and essayist, Eliot Weinberger's first study of multiple Chinese translations was the perennially popular 19 Ways of Looking at Wang Wei. New Directions publishes three collections of his inventive essays and among his many translations are works by Octavio Paz, Bei Dao, and Jorge Luis Borges

Written for publication in magazines abroad, translated into sixteen languages, and collected here for the first time, Eliot Weinberger's chronicles of the Bush era range from first-person journalism to political analysis to a kind of documentary prose poetry. The book begins with the inauguration of George W. Bush in January 2001-and an eerie prediction of the invasion of Iraq-and picks up on September 12, with an account of downtown Manhattan, where Weinberger lives, on the "day after." With wit and anger, and sometimes startling prescience, What Happened Here takes us through the first term of the "Bush junta": the deep history of the neoconservative "sleeper cell," the invention of the War on Terror, the real wars in Afghanistan and Iraq, and the often bizarre behavior of the Republican Party. For twenty-five years, Eliot Weinberger has been taking the essay form into unexplored territory. In What Happened Here, truth proves stranger than poetry.