In Shelton’s fourth collection of poems, he writes of the desert Southwest, and through it gives his unique view of the world. The poems speak of landscape, marriage, freedom, and death.

Mysterious vanishing hitchhikers, travelers beset by headless dogs, and long-dead moonshiners come alive in this collection of ninety-six Appalachian folktales. Set in coal mines and remote farm cabins, in hidden hollows and on mountain tops, some of these stories look back to the days when West Virginia was first settled; others reflect the rancor and brutality of the Civil War. But most of these tales guide us through the recent past of the uncommonly rich folk heritage of West Virginia. This ghostly collection, with source information and bold illustrations, will thrill longtime lovers of supernatural lore.

John Ashbery writes like no one else among contemporary American poets. In the construction of his intricate patterns, he uses words much as the contemporary painter uses form and color- words painstakingly chosen as conveyors of precise meaning, not as representations of sound. These linked in unexpected juxtapositions, at first glance unrelated and even anarchic, in the end create by their clashing interplay a structure of dazzling brilliance and strong emotional impact. From this preoccupation arises a poetry that passes beyond conventional limits into a highly individual realm of effectiveness, one that may be roughly likened to the visual world of Surrealist painting. Some will find Mr. Ashbery's work difficult, even forbidding; but those who are sensitive to new directions in ideas and the arts will discover here much to quicken and delight them.A 35th anniversary edition of classic work from a celebrated American poet who has received the Pulitzer Prize, the national Book Award, and the national Book Critics Circle Award. John Ashbery's second book, The Tennis Court Oaths, first published by Wesleyan in 1962, remains a touchstone of contemporary avant-garde poetry.

Cynthia Genser's landscapes, like those of D.H. Lawrence, are analogues of human emotions; her men and women exist in their effects-prototypes one minute, passionate and distinctly visible individuals the next. Person and place invite the reader into an adventure that begins and ends everywhere.The language employed throughout is voluptuous, sensuous, yet precise. The appeal is to all the senses as well as to reason and intelligence: the poems, seamed with a difficult, sweaty beauty, stimulate every pleasure center. But pure language play also leads to hard, intelligent sense.Of her own work, Cynthia Genser has said, "Although I belong to no special school or group, I align my poetry with the work of others aiming their metaphors at the banality and reductionism of our world-at the terror or planned obsolescence, Vogue Magazine, the threat of nuclear warfare. I cannot agree more with the Marxist Henri Lefebvre that poetry is the enemy and eventual victor in the war against 'terrorism' and the terrorist society we now live in."

Poems devoted to family and the physical world.

Etai-Eken is a legend told in a series, a cycle of poems, which is to say, told in different languages. The action of the poems in the poem is their moving in and out of the legend by the changes of access to the larger legend; an access of the present in the ancient, of the present’s knowledge and experience of it.

The Wesleyan edition of Tom Jones is widely acknowledged as the best available, and this new paperback reproduces the handsomely composed text and notes of that edition. A new Critical Introduction, a brief chronology of Fielding's life, and a selected bibliography of relevant criticism especially designed for student use have been added. The map – A Geography of Tom Jones – has been retained, while the General and Textual Introduction and six bibliographical Appendices of the two volume clothbound edition have been omitted. "This edition offers a critical unmodernized text of Tom Jones. The text is critical in that it has been established by application of analytical criticism to the evidence of the various documentary forms in which the novel has appeared. It is unmodernized in that every effort has been made to present the text in as close a form to Fielding's own inscription and final revision as the surviving documents permit, subject only to normal editorial regulations." - from the Textual Introduction

The Axion Esti is probably the most widely read volume of verse to have appeared in Greece since World War II and remains a classic today. Those who follow the music of Greek composer Mikis Theodorakis have been especially drawn to Odysseus Elytis's work, his prose is widely considered a mirror to the revolutionary music of Theodorakis. The "autobiographical" elements are constantly colored by allusion to the history of Greece, thus, the poems express a contemporary consciousness fully resonant with those echoes of the past that have served most to shape the modern Greek experience.

An International Poetry Forum Selection, translated from the Swedish by May Swenson with Leif Sjöberg. Tomas Tranströmer 2011 Nobel Laureate in Literature “Tomas Tranströmer, who is today one of Sweden’s most distinguished poets . .

Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition.From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.

Shelton says of his work: "I consider myself a regionalist and a surrealist. I have lived in the desert for ten years and hope that my work reflects that fact." In the forty-seven poems in this collection the poet moves backward and forward through time but always in the same landscape, the desert-mountains of southern Arizona, which foster his surrealistic view of his interior conflict. He is followed by peculiarly insistent voices from the past.

This first full-scale treatment of the early prose of Dylan Thomas demonstrates the unity of his total work. Pratt argues that the inward journey of the poetic imagination which is implicit in poetry is often explicit in prose. Her study of ThomasÆ early prose alongside his early poetry helps to elucidate all of his writing. Pratt includes three appendices: a chronology, a summary of the criticsÆ attitudes toward the problem of influence, and a bibliographical sketch of materials in the Parris surrealist magazine transition, which are paralleled in ThomasÆ prose.

C.D. Wright has described Roberson’s work as “lyric poetry of meticulous design and lasting emotional significance," comparing its musical qualities to the work of saxophonist Steve Lacy, jazz pianist Thelonious Monk, and composer Johann Sebastian Bach.

During the years 800-1200 A.D., Arabic scholars studied many of the works of Greek philosophy, and recorded their interpretations. Significant Arabic interpretations of Aristotle's Prior Analytics, the key work of his logical Organon, however, have remained largely unavailable in the West. The recent discovery of several Arabic manuscripts in Istanbul revealed the \u201cShort Commentary on Prior Analytics\u201d by the medieval Arabic philosopher al-Farabi. Nicholas Rescher here presents the first translation of this work in English, and supplements this with an informative introduction and numerous explanatory footnotes.

This volume offers an unusual variety of topics presented during the sixth annual Oberlin Colloquium in Philosophy. The subjects covered include: refuting J. L. Austin's attempt to destroy philosophers' assumptions on the nature and purpose of a \u201cstatement;\u201d false premises found in \u201cSt. Anselm's Four Ontological Arguments;\u201d pain in connection with brain-state and functional-state theories; aesthetics in light of questions of fraudulence in modern art and music, and an analytical deconstruction of mystical experience.

Whoever looks to a new book by James Dickey for further work in an established mode, or for mere novelty, is going to be disappointed. But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed.Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling-pioneering-in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"-these poems, with the others that comprise the present volume, show a mature and original poet at his finest.