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WINNER OF THE 2024 GRIFFIN POETRY PRIZESelf-Portrait in the Zone of Silence, by the renowned Mexican writer Homero Aridjis, is a brilliant collection of poems written in and for the new century. Aridjis seeks spiritual transformation through encounters with mythical animals, family ghosts, migrant workers, Mexico's oppressed, female saints, other writers (such as Jorge Luis Borges and Philip Lamantia), and naked angels in the metro. We find tributes to Goya and Heraclitus, denunciations of drug traffickers and political figureheads, and unforgettable imaginary landscapes. As Aridjis himself writes: "a poem is like a door / we've never passed through..." And now past eighty, Aridjis reflects on the past and ponders the future. "Surrounded by light and the warbling of birds," he writes, "I live in a state of poetry, because for me, being and making poetry are the same."

Ranging from the humorous and scathing to the evocative and strange, this 9th century collection of list poems by the late Tang dynasty poet Li Shangyin documents one poet's scrutiny of his riotous times. Li gives a glimpse into the mundane experiences of the waning years of Chinese poetry's golden age, while providing an uncanny reflection of the minutiae of our own contemporary lives, loves, and irritations.Besieged by a drunk person, no escape.Beautiful concubine, jealous wife.

A bestseller in France and winner of Japan's Kiyama Shohei Literary Award, The Guest Cat, by the acclaimed poet Takashi Hiraide, is a subtly moving and exceptionally beautiful novel about the transient nature of life and idiosyncratic but deeply felt ways of living. A couple in their thirties live in a small rented cottage in a quiet part of Tokyo; they work at home, freelance copy-editing; they no longer have very much to say to one another. But one day a cat invites itself into their small kitchen. It leaves, but the next day comes again, and then again and again. Soon they are buying treats for the cat and enjoying talks about the animal and all its little ways. Life suddenly seems to have more promise for the husband and wife - the days have more light and color. The novel brims with new small joys and many moments of staggering poetic beauty, but then something happens....As Kenzaburo Oe has remarked, Takashi Hiraide's work "really shines." His poetry, which is remarkably cross-hatched with beauty, has been acclaimed here for "its seemingly endless string of shape-shifting objects and experiences,whose splintering effect is enacted via a unique combination of speed and minutiae."

An Empty Room is the first book by the celebrated Chinese writer Mu Xin to appear in English. A cycle of thirteen tenderly evocative stories written while Mu Xin was living in exile, this collection is reminiscent of the structural beauty of Hemingway's In Our Time and the imagistic power of Kawabata's palm-of-the-hand stories. From the ordinary (a bus accident) to the unusual (Buddhist halos) to the wise (Goethe, Lao Zi), Mu Xin's wandering "I" interweaves plots with philosophical grace and spiritual profundity. A small blue bowl becomes a symbol of vanishing childhood; a painter in a race against fading memory scribbles notes in an underground prison during the Cultural Revolution; an abandoned temple room holds a dark mystery. An Empty Room is a soul-stirring page turner, a Sebaldian reverie of passing time, loss, and humanity regained.

For the first time in paperback-Levertov's recent poetry, showing her at the height of her literary powers. Sands of the Well, first published in hardcover in 1996, shows the poet at the height of her considerable powers, as she addresses the natural beauty of the Pacific Northwest coastal landscape in terms of music, memory, aging, doubt, and faith.

It Must Be a Misunderstanding is the acclaimed Mexican poet Coral Bracho's most personal and emotive collection to date, dedicated to her mother who died of complications from Alzheimer's. Remarkably, Bracho, author and daughter, seems to disappear into her own empathic observations as her mother comes clear to us not as a tragic figure, but as a fiery and independent personality. The chemistry between them is vivid, poignant, and unforgettable. As the translator Forrest Gander explains in his introduction, the book's force "builds as the poems cycle through their sequences"- from early to late Alzheimer's-"with non-judgmental affection and compassionate watchfulness."

Los Angeles, October 1982: Molimo m'Atet, formerly known as the The Mystic Horn Society, is preparing to release its new album Orphic Bend. The members of the jazz ensemble-Aunt Nancy, Djamilaa, Drennette, Lambert, N., and Penguin-are witness to a strange occurrence: while listening to their test pressing, the moment Aunt Nancy's bass solo begins a balloon emerges from the vinyl, bearing a mysterious message: I dreamt you were gone.... Through letters N. writes to a figure called Angel of Dust, the ever-mutating story unfolds, leaving no musician or listener untouched.Bass Cathedral is Mackey's fourth volume in his ongoing novel with no beginning or end, From a Broken Bottle Traces of Perfume Still Emanate. Thought balloons morph into mute-stereoptic emanations; N. encounters a master mouthpiece-maker; Drennette leaves Penguin dateless; Lambert's kicking it around with Melanie-much is abuzz but something else is happening to the ensemble. The music seems to be living them. N. suffers cowrie shell attacks and they are all stranded on an Orphic Shore. Socio-political forces are at play or has this always been the essence and accident of the music's resilience? And Hotel Didjeridoo must be resurrected, but how? Myth spins music spins thought spins sex-Mackey's post-bop boxless box set is, as the Utne Reader wrote, "Avant-garde literature you can love: an evolving multivolume novel of the jazz world that plays with language and ideas the way Thelonious Monk plays with flatted fifths."

Jon Allman's new collection Lowcountry is a hymn to nature, as experience during his winter stays in the rich and verdant Southern coastal region known as the Low Country, stretching from Charleston to Savannah. These poems celebrate the flora and fauna of that area, involving its art and history, as the poet also explores meanings arising from his own past and present. Lowcountry presents a surging array at once narrative and lyric-meditations on the heraldic great blue heron, a trio of works focused on the Civil War, hymns to married love, poems about his daughter's pregnancy and the birth of her twin girls, as well as poems relating to the events of 9/11. The motifs of journey and return are everywhere in evidence.

Chosen as a 2005 Times Literary Supplement Book of the Year, Where Europe Begins has been described by the Russian literary phenomenon Victor Pelevin as "a spectacular journey through a world of colliding languages and multiplying cities." In these stories' disparate settings-Japan, Siberia, Russia, and Germany-the reader becomes as much a foreigner as the author, or the figures that fill this book: the ghost of a burned woman, a traveler on the Trans-Siberian railroad, a mechanical doll, a tongue, a monk who leaps into his own reflection. Through the timeless art of storytelling, Yoko Tawada discloses the virtues of bewilderment, estrangement, and Hilaritas: the goddess of rejoicing.

New work from one of America's most original experimental poets. Comprised almost entirely of never-before-collected poems, Scarlet Tanager is Bernadette Mayer's first collection of new work in nearly a decade. Mayer, "one of the most original writers of her generation" (The Washington Post), has mixed together here delightful epigrams ("The Mammal Epigram": "Sexually / it's cute"), long-line free verse, and her astonishing sonnets. There are also curious translations of Mayer poems into joking, free-styling French, which are then re-translated back into English, landing somewhere extremely witty and quite some ways from the original. There is no one writing today who can touch Bernadette Mayer for sheer pleasure and throw-away brilliance.

An evocative, often mischievous remembrance and reinvention by the poet of his youth in the New York City of the '40s and '50s. In Loew's Triboro, John Allman's fourth collection of poems with New Directions, the poet recalls the movie palace in Astoria, Queensone of the five boroughs of New York Cityand its centrality to the lives and fantasies of the people in the neighborhood. In a combination of prose poems and free verse, sometimes darkly funny, Allman juxtaposes vignettes from the streets of Astoria with the movies of the period, revisioning such film noir classics as The Postman Always Rings Twice, Double Indemnity, and The Asphalt Jungle. The book itself becomes a narrative place where real and cinematic lives interact, where movies are the engines of history and myth and the motif of journey is implicit from the first poem to the last.

In 1938 Henry Green, then thirty-three, dreaded the coming war and decided to "put down what comes to mind before one is killed." Pack My Bag was published in England in 1940. When he wrote it, Green had already published three of his nine novels and his style"a gathering web of insinuations"was fully developed.Pack My Bag is a marvelously quirky, clear-eyed memoir: a mother who shot at mangle wurzels (turnips) bowled across the lawn for her by the servants; the stately home packed with wounded World War I soldiers; the miseries of Eton, oddities of Oxford, and work in the family factory-the making of a brilliantly original novelist. "We have inherited the greatest orchestra, the English language, to conduct," Green once wrote. "The means are there; things are going on in life all the time around us." His use of language and his account of things that went on in his life inform this delightful and idiosyncratic autobiography, which begins: "I was born a mouthbreather with a silver spoon."

A young man, Juan Luis Luna, is kidnapped in Guatemala City and held at the bottom of a rusty, empty underground fuel tank in an abandoned gas station. The kidnappers demand a ransom; his rich father does not reply. The kidnappers threaten to cut off his son's foot and still hear nothing. They then slice off one of Juan Luis's toes and send it to his father, who still refuses to act. So the next day... The Good Cripple obsessively focused, chilling, allegorical is stunningly explosive. With its enigmatic beginning, however, and its circular relentless structure, the novel is also dense with ideas: can one be whole after mutilation? Can the injured transcend violence? Rodrigo Rey Rosa's style is of a lithe pristine clarity, but beneath that calm surface cruelty, revenge, and diffidence churn darkly away. The Good Cripple is an astonishingly intense book, and as unforgettable as the sight of "the place where the foot had been severed, where a circle of red flesh, now a little black along the edges, could be seen, with a concentric circle of white bone that was both milky and glassy..."

The latest book of prose poems by one of America's premier philosophical poets. For the title of her newest collection of prose poems, Rosmarie Waldrop adopts a term"blindsight" used by the neuroscientist Antonio R. Damasio to describe a condition in which a person actually sees more than he or she is consciously aware. "This is one reason," explains Waldrop, "for using collage: joining my fragments to other people's fragments in a dialogue, a net relation that might catch a bit more of the 'world.'" The collectionthe author's fourth with New Directionsis divided into four thematic sections. The first, "HÜlderlin Hybrids," resonates against the German poet's twisted syntax, while using rhythmic punctuation in counterpoint to sense. "'As Were,'" says Waldrop, "began with looking at the secondary occupations of artistsfor example, Mallarme teaching English, Montaigne serving as mayor of Bordeauxbut this soon gave way to playing more generally with particular aspects of historical figures." The title section, "Blindsight," is most consistent in its use of collage, juxtaposing words and images to jolting, epiphanic effect. "Cornell Boxes," in contrast, has a formal unity, inspired by the constructions of Joseph Cornell, each prose poem "box" composed in a structure of fours: four paragraphs of four sentences each, with four footnotes.

In her new volume of prose poem "dialogues," Reluctant Gravities, Rosmarie Waldrop once again pushes the boundaries and definitions of poetry, prose, gender, relationship, even language itself. Intended as a sequel to The Reproduction of Profiles and Lawn of Excluded Middle, Reluctant Gravities gives the rhetorical "you" addressed in those earlier volumes a voice and response. Some of Waldrop's concerns are formal. As the author herself says, she "cultivates cuts, discontinuity, leaps, shifts of reference" in an attempt to compensate for the lack of margin, where verse would turn toward the white of the page, toward what is not. Instead, her "gap gardening" tries to place the margin, the emptiness inside the text. Yet the overriding point of the dialogues is determinedly human as the two voices with wit and philosophical playfulness debate aspects of "Aging," "Depression," "Desire," and even ''The Millennium."

"With a narrative style and humor that sometimes hints at Nabokov, Zinik, who left Russia in 1975, crafts amazing stories depicting the plight of emigres as they endure their solitude and try, ultimately, to create new lives and new selves. These eight stories give glimpses of the mindset and frustrations that the narrator (also named Zinovy Zinik) experiences. In "A Ticket to Spare," a Russian Jew who travels to Kiev to see a Duke Ellington concert experiences the difficulty of seeking comfort in an unfamiliar city if only for a day. Being both Russian and Jewish, Zinik finds it hard to meet folks in Kiev; even on the anniversary of the slaughter of the Jews at Babi Yar, he's shunned by fellow Jews engaged in a secret prayer for the victims. The stories have an archness of tone, a playfulness born of the experience of displacement and the accompanying knowledge that the world is endlessly mutable. In "A Chance Encounter," Zinik is allowed by the Soviets to return home briefly to visit his mother's grave, where he meets a woman he vaguely remembers. He becomes convinced she is a former girlfriend, only to find out that she is that former girlfriend's daughter. While walking around Moscow, he enters a familiar building and is suddenly overcome by "a Soviet version of Proustian nostalgia, carried by the urine and garbage underfoot, illuminated by a naked spattered bulb as dim as memory." Zinik captures perfectly and evocatively these memories, which reverberate within his own cork-lined room." --Publishers Weekly.

The devil in Henry Miller's Big Sur paradise is Conrad Moricand: "A friend of his Paris days, who, having been financed and brought over from Europe as an act of mercy by Mr. Miller, turns out as exacting, sponging, evil, cunning and ungrateful a guest as can be found in contemporary literature. Mr. Miller has always been a remarkable creator of character. Conrad Moricand is probably his masterpiece. . . .A Devil in Paradise is the work of a great novelist manqué, a novelist who has no stricter sense of form than the divine creator. . . .Fresh and intoxicating, funny and moving. . ." -The Times Literary Supplement (London)

Kamau Brathwaite's poetry offers stunning collages devoted to the history, mythology, and language of the African diaspora, and has gained him a world reputation. Middle Passages, his most recent collection, is his sixteenth poetry volume, but his first with an American publisher. With notes of protest and lament, the fourteen poems of Middle Passages address the effects of the Middle Passage of slavery on the New World, and celebrate great musicians (Ellington, Bessie Smith), poets, heroes of the resistance, and Third World leaders Kwame Nkrumah, Walter Rodney, and Nelson Mandela. And as the London Times Literary Supplement noted, it is "a poetry that moves between rage and tenderness, doubt and displacement to affirmation... Middle Passages is a potent and effective book, a work of passion and integrity."

In her celebrated essay "Against Decoration," published in Parnassus, Mary Karr took aim against the verbal ornaments that too often pass for poetry these days and their attendant justifications: deconstruction and a "new formalism" that elevates form as an end in itself. Her own poems, she says, are "humanist poems," written for everyday readers rather than an exclusive audience--poems that do not require an academic explication in order to be understood. Of The Devil's Tour, her newest collection, she writes: "This is a book of poems about standing in the dark, about trying to memorize the bad news. The tour is a tour of the skull. l am thinking of Satan in Paradise Lost: 'The mind is its own place and it can make a hell of heav'n or a heav'n of hell ... I myself am hell."

Gathered in The Man with the Heart in the Highlands are sixteen stories from William Saroyan's most celebrated literary period, culled from several long out-of-print collections from the 1930s and '40s, While achieving meteoric success with The Human Comedy and The Time of Your Life, the young Saroyan set the pace with characters as fresh and compassionate as himself. His voice here is exhilarating, luminous, and completely distinctive--ready to let go with a lusty brash laugh on every page. These stories amply bear out Elizabeth Bowen's opinion that "probably since O. Henry nobody has done more to endear and stabilize the short story."

Stitching Porcelain, Deborah Larsen's first book of poetry, is a narrative-lyric sequence based on the life of Matteo Ricci, the resourceful Jesuit who entered China in 1583 and stayed for a quarter century. Pondering cultural accommodation as well as faith, many of the poems center on actual events: Ricci's dressing as a Buddhist; his awe-inspiring map (with China shrewdly centered); his prostration before an empty Dragon Throne. Other events the poet imagined. (In the title room, Ricci addresses a love lyric to China: "Your porcelain is so fine, so thin,/a brass wire can repair it . . . /Once I saw you beneath the bamboo/ . . . bent back/from the world, stitching porcelain.") With a felicity rare in a debut volume, Larsen's opalescent poetry works in perfect counterpoint to the strange and brilliant Ricci.