Vitezslav Nezval (1900-58) was an active participant in the European avant-garde between the two world wars. In the '20s he was the founding figure of poetism', a movement of poets and artists centred in Prague. Like other major innovators, he worked through a prolific sweep of modes and genres and formed an alliance with Andre Breton and his Paris circle in the 1930s, founding the first surrealist group and magazine outside France. This collection brings together, for the first time, a sampling of Nezval's major works from the '20s and 30's.'

Wide-ranging poetry anthology by one of America’s most distinguished literary translators.

This book is both a sequel to author John Taylor's earlier volume Into the Heart of European Poetry and something different. It is a sequel because this volume expands upon the base of the previous book to include many more European poets. It is different in that it is framed by stories in which the author juxtaposes his personal experiences involving European poetry or European poets as he travels through different countries where the poets have lived or worked. Taylor explores poetry from the Czech Republic, Denmark, Lithuania, Albania, Romania, Turkey, and Portugal, all of which were missing in the previous gathering, analyzes heady verse written in Galician, and presents an important poet born in the Chuvash Republic. His tour through European poetry also adds discoveries from countries whose languages he reads fluently-Italy, Germany (and German-speaking Switzerland), Greece, and France. Taylor's model is Valery Larbaud, to whom his criticism, with its liveliness and analytical clarity, is often compared. Readers will enjoy a renewed dialogue with European poetry, especially in an age when translations are rarely reviewed, present in literary journals, or studied in schools. This book, along with Into the Heart of European Poetry, motivates a dialogue by bringing foreign poetry out of the specialized confines of foreign language departments.

Rodriguez was born in Havana in 1952, less than a decade before the Cuban Revolution took place. Developing in a cultural climate that could be both encouraging and tense, she struggled to establish a questioning, experimental poetics over the years that has both expressed and questioned values of contemporary Cuban culture.

The key book by the internationally celebrated poet with the only Polish ghetto-hassidic-cowboy and Indian American comic voice (Robert Duncan) in history.

This volume offers new perspectives on a crucial figure of nineteenth-century cultural history – the flâneur. Recent writing on the flâneur has given little sustained attention to the widespread adaptation of the flâneur outside Paris, let alone outside France and indeed Europe, whether in the form of historic antecedents, modern sequels, or contemporary echoes. Yet it is clear that the allure of the flâneur’s persona has led to its translation and adoption far beyond Parisian boulevards and passages, and this in different media and literary genres. This volume maps some of the flâneur’s travels and transpositions. How far the flâneur is dependent on Paris as a milieu is opened up for questioning: for all the international dispersal of this idea and model, in some sense Paris is always present, if only as a reference to kick against or replace. When modern flâneurs step out in foreign cities, how much of a Parisian ethos clings to them, however they might claim independence? Cities which provide counterpoints to Paris discussed here are Amsterdam, Brussels, Dublin, Le Havre, London, Madrid, New York, Prague, and St Petersburg. This internationalised view also reconsiders the nature of the flâneur, and revises stereotypes based on Walter Benjamin’s account of Baudelaire. Another key feature is the chapters which analyse the flâneur in terms of visual representations, whether graphic illustration, streetscapes, urban design, cinema, or album covers (related to musical examples from the 1950s to the present).

A landmark collection by one of America's leading avant-gardists. A Book of Witness: Spells & Gris-Gris is Jerome Rothenberg's passage from one centuryone millenniumto another. Of the one hundred poems that comprise the book, the first half were written in 1999, the second in the two years that followed. But far more than a marker of era-shifting, it is a collection that reestablishes the primacy of the poetic "I," not in the sense of a confessional, personal voice, but of the grammatical first person as both a singular witness and conduit for othersa kind of prophecy. Often incantatory, the poems in A Book of Witness are a reaffirmation of self in the face of history's darknesses, a shout for life against an indifferent universe.