During her lifetime Marianne Moore was that rarest of combinations, a genuine leader in the art of poetry, as well as a bona fide celebrity. She was an instantly recognisable symbol of Brooklyn, New York, appearing on the cover of Life magazine, asked by the Ford Motor Company to christen their new family sedan, and by the New York Yankees to throw the opening pitch of their baseball season. However, because of Moore's restless, seldom-ceasing, decade-spanning revision of her own poems, creating a 'stable' text of her work has posed editors a challenge ever since. Moore tackled the problem herself: Complete Poems (1967) was her own selection, but she favoured the later work, including less than half of her output up to that point. 'Omissions are not accidents,' she wrote pointedly in that edition, but for some readers the absence of more than one hundred poems constituted a wilful neglect of her startlingly innovative, highly influential early work, and contributed to Moore's undervaluing as a 'modernist' poet. Marianne Moore scholar Heather Cass White has prepared an edition of poems that, for the first time, presents the full range of Moore's work in its published order, while honouring the complex textual lives of the poems. With an inviting introduction and meticulous notes, the New Collected Poems of Marianne Moore is the first definitive text of this most celebrated writer, whose poems form part, as T. S. Eliot declared, of 'the small body of durable poetry written in our time'.

A reissue of the 1935 Selected Poems, which, with an Introduction by T. S. Eliot, brought Moore's work to the attention of a wider public.

This beautifully designed edition forms part of a series of ten key titles celebrating Faber's publishing over the decades.

Faber Stories, a landmark series of individual volumes, presents masters of the short story form at work in a range of genres and styles.

A wily cat, a strange romance, detestable daughters: the great American poet Marianne Moore retells three stories originally written by Charles Perrault to amuse the niece of Louis XIV.

Modern readers may be surprised to find that the prince does not wake Sleeping Beauty with a kiss - the more he cares, the less willing he is to intrude - and that his mother is descended from ogres.

Characterised by vivid imagery, uncluttered prose, inventive alliteration and a sly sceptic's wit, Moore's versions do more than tell a tale: 'Having seen a problem solved,' she writes, each one leaves 'a pattern of order in the mind.'

Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.

Adalbert Stifter's Rock Crystal is a Christmas story and a story about the heart of the ice, the crystal. The charm of this quasi-fairy tale is made even more poignant by the knowledge of the author's eventual suicide. This seemingly simple fable of two children lost in an icy landscape is eloquent in its innocence, but is implicit with an unremitting consciousness of the fragility of life and the inevitability of death. This is a wintry story of village life in the high mountains, but also a parable of belief and faith. The Rock Crystal of the title are shards of ice of the glacier that dominates the landscape that Adalbert Stifter describes. Translated from the German by Elizabeth Mayer and Marianne Moore, Adalbert Stifter's Rock Crystal is published by Pushkin Press. 'A tale of almost unendurable suspense' - New York Review of Books Adalbert Stifter (1805-1868) was an Austrian writer, painter and poet closely associated with the Biedermeier movement in European art. Following his studies at the University of Vienna, he was highly regarded as a tutor among aristocratic families. The success of his first story The Condor in 1840 inaugurated a steady writing career, culminating in Der Nachsommer, praised by Nietzsche as one of the two great novels of 19th century Germany. He was especially notable for the vivid natural landscapes depicted in his writing, and has long been popular in the German-speaking world, influencing writers such as Hermann Hesse, Thomas Mann and W.G. Sebald.

This is a definitive collection of one of the most genuine, witty and imaginative of twentieth-century American poets, the admired contemporary of Eliot, Pound, Stevens, Williams, H.D. and Cummings. Her fastidious and inimitable poems, with their observations of everything from a jerboa to a camel-sparrow, an ice octopus to the Brooklyn Dodgers, are part of the canon of modern poetry. 'Miss Moore's poems form part of the small body of durable poetry written in our time'. T. S. Eliot The Complete Poems was published in England in 1968, when Marianne Moore was eighty-one. This edition incorporates all her later revisions and corrections, as well as five poems written in the last years of her life. She died in New York in 1972.

This definitive edition contains sixty years of Marianne Moore's poems, incorporating her text revisions and her own entertaining notes that reveal the inspiration for complete poems and individual lines.