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.

An award-winning study of Puritans and the formation of their towns.

Here are the engrossing facts about one of the least-known movements in Connecticut's history-the rise, organization, and operations of the Underground Railroad, over which fugitive slaves from the South found their way to freedom. Drawing his data from published sources and, perhaps more importantly, from the still-existing oral tradition of descendants of Underground agents, Horatio Strother tells the detailed story in this book, originally published in 1962. He traces the routes from entry points such as New Haven harbor and the New York state line, through important crossroads like Brooklyn and Farmington. Revealing the dangers fugitives faced, the author also identifies the high-minded lawbreakers who operated the system-farmers and merchants, local officials and judges, at least one United States Senator, and many dedicated ministers of the Gospel. These narratives are set against the larger background of the development of slavery and abolitionism in America- conversations still relevant today.

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.

Joel Augustus Roger's seminal work, this novel first published in 1917 is a polemic against the ignorance that fuels racism. The central plot revolves around a debate between a Pullman porter and a white racist Southern politician.

This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems - in effect, a new book in themselves - that have not previously been published in volume form. Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word "great" be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.

With that three-line epigraph, David Ignatow declares the thrust and purpose of his compelling new book. Unlike his previous work, which was written largely in reaction to the world about him-the urban landscape with its clamor and violence and business pressures-these new poems turn inward. They explore and confirm the individual in his never ending search for awareness and realization: a process in which conflict, love, sorrow, and insight in the end come together into a precarious balance that is its own form of peace.

The poems of Robert Bly are rooted deep in the earth. Snow and sunshine, barns and cornfields and cars on the empty nighttime roads, abandoned Minnesota lakes and the mood of America now-these are his materials. He sees and talks clearly: he uses no rhetoric nor mannered striving for effect, but instead the simple statement that in nine lines can embody a mood, reveal a profound truth, illuminate in an important way the inward and hidden life. This is a poet of the modern world, thoroughly aware of the complexities of the moment but equally mindful of the great stream of life-all life-of which mankind is only a part.

These new poems by the author of Saint Judas and The Green Wall embody a sharp break with his earlier work. Their impact is well described by the British critic Michael Hamburger: "He has absorbed the work of modern Spanish and other continental poets and evolved a medium of his own. This medium dispenses with argument and rhetoric, and presents the pure substance of poetry, images which are 'the objective correlatives' of emotion and feeling. It is only in the new collection that Wright has found this wholly distinctive voice."Mr. Wright is well known for his previous books and his contributions to virtually every literary journal of importance. His numerous honors include a Fullbright fellowship, a Kenyon Review fellowship, and many other prizes and awards.

Historian Joel Augustus Rogers provides his evidence that there have been nineteenth- and twentieth-century presidents of the United States who had partial black ancestry, including Harding, Jefferson, Jackson and Lincoln.

CONTRIBUTORS: Jose Limon, Anna Sokolow, Erick Hawkins, Donald McKayle, Alwin Nikolas, Pauline Koner, Paul Taylor.