In 1935 a young Englishman living on Corfu wrote enthusiastically to a middle-aged Brooklynite who had just published a succes de scandale in Paris: ... Tropic [of Cancer] turns the corner into a new life which has regained its bowels." Henry Miller, realizing that in Lawrence Durrell he had hooked his ideal reader, responded: "You're the first Britisher who's written me an intelligent letter about the book." Thus began a correspondence that ended only with Miller's death in 1980 - nearly 1,000,000 words later. The Durrell-Miller Letters, 1935-80 contains an extensive and representative selection of the total correspondence. Almost half of the present volume has never been published before, including some recently recovered "lost" letters; in addition, many passages expurgated from letters published in 1963 have been restored. Editor Ian S. MacNiven of the State University of New York, Maritime College, is quite right to regard the Durrell-Miller correspondence as a dual biography of the creative lives of two of this century'sgreat literary iconoclasts, a biography "At once as serious as Schopenhauer and as winning as wine." "

Henry Miller’s landmark travel book, now reissued in a new edition, is ready to be stuffed into any vagabond’s backpack. Like the ancient colossus that stood over the harbor of Rhodes, Henry Miller’s The Colossus of Maroussi stands as a seminal classic in travel literature. It has preceded the footsteps of prominent travel writers such as Pico Iyer and Rolf Potts. The book Miller would later cite as his favorite began with a young woman’s seductive description of Greece. Miller headed out with his friend Lawrence Durrell to explore the Grecian countryside: a flock of sheep nearly tramples the two as they lie naked on a beach; the Greek poet Katsmbalis, the “colossus” of Miller’s book, stirs every rooster within earshot of the Acropolis with his own loud crowing; cold hard-boiled eggs are warmed in a village’s single stove, and they stay in hotels that “have seen better days, but which have an aroma of the past.”

A Psychoanalytic Study of Lawrence Durrell’s The Alexandria Quartet: Exile and Return focuses on the dialogue created by literature and psychoanalysis in an individual’s quest to explore existential issues, such as a sense of belonging to a homeland and a recurring sense of the Uncanny (das unheimliche). Rony Alfandary explores Durrell’s attempt to recreate a sense of belonging to a homeland, which perhaps never existed but can be retraced and reinvented through writing. This book studies some issues present in Durrell’s work: the connection between biographical and fictional elements in the study of literature the influence of early Freudian theoretical themes upon the writer later influences including post-modern and hermeneutic theories The life and work of Lawrence Durrell can serve as a prototype of a man’s quest for meaning, in a world caught in turmoil in the period between and during WW2. The author’s psychoanalytic exploration of the work and its relevance to human experience today, shows how the themes Durrell dealt with remain relevant. Alfandary highlights the ways in which his usage of several author narrative styles exemplifies the divergent and often contradictory nature of "Truth", emerging rather as multi-layered, multi-voiced and often torn sense of human subjectivity. A Psychoanalytic Study of Lawrence Durrell’s The Alexandria Quartet: Exile and Return demonstrates Durrell’s strong influence by psychoanalytic thought and will appeal to both psychoanalytic and literary scholars.

Patrick Leigh Fermor’s enviably colorful life took off when in 1934, at the age of eighteen, he decided to walk across Europe. In just over a year he had trekked through nine countries and taught himself three languages, and his enthusiasm and curiosity for every kind of experience made him equally happy in caves or country houses, among shepherds or countesses. At the outbreak of war he left his lover, Princess Balasha Cantacuzene, in Romania and returned to England to enlist. Commissioned into the Intelligence Corps, he became one of the handful of Allied officers supporting the Cretan resistance to the German occupation. In 1944 he commanded the Anglo-Cretan team that abducted General Heinrich Kreipe and spirited him away to Egypt. A journey to the Caribbean, stays in monasteries, and explorations all over Greece provided the subjects for his first books. It was not until he and his wife had moved to southern Greece that he returned to his earliest walk. In these books, which took many years to write, he created a vision of a prewar Europe, which in its beauty and abundance has never been equaled. Artemis Cooper has drawn on years of interviews and conversations with Leigh Fermor and his closest friends, and has had complete access to his archive. Her beautifully crafted biography portrays a man of extraordinary gifts—no one wore their learning so playfully nor inspired such passionate friendship.

Over sixty years after his death, Wallace Stevens remains one of the major figures of American modernist poetry, celebrated for his masterful style, formal rigor, and aesthetic investigations of the natural, political, and metaphysical worlds. In Making the Poem, noted Stevens scholar George S. Lensing explores the poet’s progress in the creation of his body of work, considering its development, composition, and reception. Drawing on little-known sources and nuanced readings of Stevens’ texts, Lensing expands the customary view of the poet’s creative approaches. This wide-ranging study extends from the origins and overlapping themes of well-known poems through the social and political backgrounds that marked Stevens’ work to the prosodic and musical elements central to his style. Making the Poem features a dynamic new reading of the important early poem “Sea Surface Full of Clouds”—viewing it alongside his wife Elsie’s journal describing the sea voyage that inspired the poem—and an extensive, multiperspective treatment of the widely anthologized “The Idea of Order at Key West,” as well as a careful excavation of the poem “Mozart, 1935” in the context of the U.S. Great Depression. Lensing concludes with a discussion of the gradual (and sometimes reluctant) recognition Stevens’ work received from poets and critics in Great Britain and Ireland. Stemming from decades of research and writing, Making the Poem: Stevens’ Approaches presents a holistic view of his creative achievements and a wealth of new material for readers to draw upon in their future encounters with the poetry of Wallace Stevens.