Set Thy Love in Order: New & Selected Poems gathers the work of some thirty years, taken from Stephen Romer's four previous collections, along with a substantial selection of new poems. The title is a Dantesque imperative as old as the Trecento: Ordina questo amore, O tu che m' ami - set thy love in order, o thou who lovest me. Romer's central theme is encapsulated by these words, and his prolonged and painstaking exploration of the 'intermittences of the heart', frequently carried out with a Francophile self-consciousness and rueful wit, constitute so many variations on the theme. Romer's New & Selected articulates the constant oscillation between love, loss and longing, and the religious desire for 'refuge' or 'higher things', and how powerfully these can come to rhythm the life of the mind and the emotions. His more recent work has included poems of love and mourning for his parents, and elegies for friends. Derek Mahon singled out Romer's first collection Idols for its 'emotional candour and intellectual clarity', and since then the poet has endeavoured to turn the light of the intellect (and the wit) on the frequently chaotic and contradictory material of the heart.

This series publishes translations, original poems, reviews and short essays that address such characteristic signs of our times as exile, the movement of peoples, the search for asylum, and the speaking of languages outside their native home.

One of France's most important modern poets, Eugene Guillevic (1907-97) was born in Carnac in Brittany, and although he never learned the Breton language, his personality is deeply marked by his feeling of oneness with his homeland. His poetry has a remarkable unity, driven by his desire to use words to bridge a tragic gulf between man and a harsh and often apparently hostile natural environment. For Guillevic, the purpose of poetry is to arouse the sense of Being. In this poetry of description - where entire landscapes are built up from short, intense texts - language is reduced to its essentials, as words are placed on the page 'like a dam against time'. When reading these poems, it is as if time is being stopped for man to find himself again. Carnac (1961) marks the beginning of Guillevic's mature life as a poet. A single poem in several parts, it evokes the rocky, sea-bound, unfinished landscape of Brittany with its sacred objects and its great silent sense of waiting. The texts are brief but have a grave, meditative serenity, as the poet seeks to effect balance and to help us 'to make friends with nature' and to live in a universe which is chaotic and often frightening. Introduction by Stephen Romer. French-English bilingual edition. Bloodaxe Contemporary French Poets: 9

An intensely personal and profoundly moving review of Bonnefoy’s childhood memories. In December 2015, six months before his death at the age of 93, Yves Bonnefoy concluded what was to be his last major text in prose, L’écharpe rouge, translated here as The Red Scarf. In this unique book, described by the poet as "an anamnesis"—a formal act of commemoration—Bonnefoy undertakes, at the end of his life, a profoundly moving exegesis of some fragments written in 1964. These fragments lead him back to an unspoken, lifelong anxiety: “My most troubling memory, when I was between ten and twelve years old, concerns my father, and my anxiety about his silence.� Bonnefoy offers an anatomy of his father’s silence, and of the melancholy that seemed to take hold some years into his marriage to the poet’s mother.   At the heart of this book is the ballad of Elie and Hélène, the poet’s parents. It is the story of their lives together in the Auvergne, and later in Tours, seen through the eyes of their son—the solitary boy’s intense but inchoate experience, reviewed through memories of the now elderly man. What makes The Red Scarf indispensable is the intensely personal nature of the material, casting its slant light, a setting sun, on all that has gone before.  

In this series, a contemporary poet selects and introduces a poet of the past. By their choice of poems and by the personal and critical reactions they express in their prefaces, the editors offer insights into their own work as well as providing an accessible and passionate introduction to some of the greatest poets of our literature. Robert Herrick was born in London, in 1591, the seventh child of a prosperous goldsmith. He graduated from St. John's College, Cambridge in 1617, and became a Cavalier poet in the mould of Ben Jonson, mixing in literary circles in London. He was ordained in 1623 and subsequently appointed by Charles I to the living of Dean Prior in Devon, where he lived in the reluctant seclusion of country life and wrote some of his best work. In 1647, under the Commonwealth, Herrick was expelled from the priory and returned to London, where he published his major work, Hesperides, the following year. With the restoration of Charles II in 1660 he was returned to Devon and died a bachelor in 1674.

France’s greatest poet of the last half century, Yves Bonnefoy wrote many books of poetry and poetic prose, as well as celebrated critical essays on literature and art (to which a second volume will be devoted). At his death in 2016 aged ninety-three, he was Emeritus Professor of Comparative Poetics at the Collège de France. The selection for this volume (and the second one) was made in close collaboration with the poet. The lengthy introduction by John Naughton is a significant assessment of Bonnefoy’s importance in French literature. Bonnefoy started out as a young surrealist poet at the end of the Second World War and, for seven decades, he produced poetry and prose of great, and changing, depth and richness. In his lines we encounter `the horizon of a voice where stars are falling, / Moon merging with the chaos of the dead’. Fellow poet Philippe Jaccottet spoke of his abiding gravité enflammée. Bonnefoy knew what translation demands, having himself translated Shakespeare, Donne, Yeats, and Keats; Petrarch and Leopardi from Italian; and, from Greek, George Seferis. This volume is edited and translated by three of Bonnefoy’s long-time translators –Anthony Rudolf, John Naughton, and Stephen Romer – with contributions from Galway Kinnell, Richard Pevear, Beverley Bie Brahic, Emily Grosholz, Susanna Lang, and Hoyt Rogers.

In December 2015, six months before his death at the age of 93, Yves Bonnefoy concluded what was to be his last major text in prose, L'echarpe rouge, translated here as The Red Scarf. In this unique book, described by the poet as "an anamnesis"-a formal act of commemoration-Bonnefoy undertakes, at the end of his life, a profoundly moving exegesis of some fragments written in 1964. These fragments lead him back to an unspoken, lifelong anxiety: "My most troubling memory, when I was between ten and twelve years old, concerns my father, and my anxiety about his silence." Bonnefoy offers an anatomy of his father's silence, and of the melancholy that seemed to take hold some years into his marriage to the poet's mother. At the heart of this book is the ballad of Elie and Helene, the poet's parents. It is the story of their lives together in the Auvergne, and later in Tours, seen through the eyes of their son-the solitary boy's intense but inchoate experience, reviewed through memories of the now elderly man. What makes The Red Scarf indispensable is the intensely personal nature of the material, casting its slant light, a setting sun, on all that has gone before.

'He had become the dandy of the unpredictable.' A quest for new sensations, and an avowed desire to shock possessed the Decadent writers of fin-de-siecle Paris. The years 1880-1900 saw an extraordinary, hothouse flowering of talent, that produced some of the most exotic, stylized, and cerebral literature in the French language. While 'Decadence' was a European movement, its epicentre was the French capital. On the eve of Freud's early discoveries, writers such as Gourmont, Lorrain, Maupassant, Mirbeau, Richepin, Schwob, and Villiers engaged in a species of wild analysis of their own, perfecting the art of short fiction as they did so. Death and Eros haunt these pages, and a polymorphous perversity by turns hilarious and horrifying. Their stories teem with addicts, maniacs, and murderers as they strive to outdo each other. This newly translated selection brings together the very best writing of the period, from lesser known figures as well as famous names. Provocative and unsettling, these extraordinary, corrosive little tales continue to cast a cold eye on the modern world. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Yves Bonnefoy (1923-2016), a major poet, was equally a seminal essayist and thinker. This companion volume to Yves Bonnefoy: Poems contains what he regarded as his foundational essays, as well as a generous selection from all periods. In his art criticism, as in his literary essays, Bonnefoy manages that rare thing: to impart metaphysical urgency to each discreet encounter with a painting or a poem, born of his constant quest for intensity, for 'presence'. Whether he is examining an early Byzantine fresco, a Shakespeare play, a Bernini angel, a drawing by Blake, a poem by Rimbaud, the exigency, the high seriousness and the challenge is the same: to affirm presence, and finitude, against all forms of life-sapping conceptual thought. If they cannot always deliver ecstasy or hope, the great poets, argues Bonnefoy, are pledged to 'intensity as such', sustained by 'une mélancolie ardente'.

Since the publication of his first book in 1953, Yves Bonnefoy has become one of the most important French poets of the postwar years. At last, we have the long-awaited English translation of his celebrated work "L'Arriere-Pays", which takes us to the heart of his creative process and to the very core of his poetic spirit. In his poem "The Convex Mirror," Bonnefoy writes: "Look at them down there, at that crossroads, / They seem to hesitate, then go on." The idea of the crossroads haunts Bonnefoy's work, as he is troubled by the idea that the path not taken may lead to the arriere-pays, a place of greater plenitude, and of more authentic being - an "elsewhere in the absolute." Seized by this fear that what he terms "presence" exists always somewhere else, a little further on, Bonnefoy here sets out on a labyrinthine quest to find traces of this "original place," which he locates not only in objects of knowledge and experience as diverse as the deserts of Asia, a hill fort in India, a church in Armenia, and the paintings of Piero della Francesca but also, crucially, in the undivided intensity of his experiences as a child. Written with a visionary grace, "The Arriere-Pays" is a spiritual testament to art, philosophy, and poetry. Enriched by a new preface by the poet, this volume also includes three recent essays in which he returns to his original account of an ethical and aesthetic haunting, one that recounts the struggle between our instinct to idealize - what he deems our eternal Platonism - and the equally strong need to combat this and to be reconciled with our nature as finite beings, made of flesh and blood, in the world of the here and now.