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A new translation of the best and most provocative work by France's infamous rebel poet, in a bilingual editionPoet, prodigy, precursor, punk: the short, precocious, uncompromisingly rebellious career of the poet Arthur Rimbaud is one of the legends of modern literature. By the time he was twenty, Rimbaud had written a series of poems that are not only masterpieces in themselves but that forever transformed the idea of what poetry is. Without him, surrealism is inconceivable, and his influence is palpable in artists as diverse as Henry Miller, John Ashbery, Bob Dylan, and Patti Smith. In this essential volume, renowned translator Mark Polizzotti offers authoritative and inspired new versions of Rimbaud’s major poems and letters, including generous selection of Illuminations and the entirety of his lacerating confession A Season in Hell—capturing as never before not only the meaning but also the daredevil attitudes and incantatory rhythms that make Rimbaud’s works among the most perpetually modern of his or any other generation.

In this warm and vibrant work of memoir and criticism, a young writer forges a friendship with Philip Guston, one of the most influential and controversial painters of the twentieth century and the subject of Philip Guston Now, a much-discussed retrospective upcoming in several major museums.The late paintings of Philip Guston have had a profound influence on painters today; only the altogether different work of Andy Warhol can be said to have had a comparable impact. As time has passed and Guston's star has risen, it has been forgotten how scandalous and crude these paintings, with their cartoonish imagery and curiously faltering application of paint, were initially deemed to be. The 1970 show at the Marlborough Gallery in which Guston, abandoning the delicate abstract expressionist style for which he was known, revealed his new style was critically savaged and even led to a rift between Guston and his best friend, the composer Morton Feldman, that was never fully mended. In the aftermath of this drubbing, Guston retreated to his studio in Woodstock, New York-in part to nurse his wounds, but more importantly, to go on painting exactly as he saw fit. Ross Feld, a young poet, novelist, and critic, was one of the few reviewers of Guston's show to write favorably about it. Guston responded with a grateful note-"I felt . . . as if we knew each other and had many discussions about painting and literature. In a word-I felt recognition"-and a new friendship was soon born. Feld became an inveterate visitor to the painter's studio-the two would sit up late at night hashing over what Guston had or hadn't achieved-and an inspiration to his work. Guston in Time, written not long before Feld's early death from cancer, is a portrait of Guston the man, of his wife Musa, a major figure not only in the artist's life but in his work, and a reckoning with his supremely individual achievement as an artist. Feld's slim and resonant book is a work of art in its own right. A retrospective of Guston's work, Philip Guston Now, will be on view at the Museum of Fine Arts Boston from May 1-Sept. 11, 2022; at the Museum of Fine Arts Houston from Oct. 23, 2022 to Jan. 15, 2023; at the National Gallery of Art, DC, from Feb. 26-Aug. 27, 2023; and at the Tate Modern, London, from Oct. 3, 2023 to February 4, 2024.

Valmiki's Ramayana provides the inspiration for this vibrant collection of poems, each of which acts as a persuasive encounter between English poetry and Indian myth. After is a collection of poems inspired by Valmiki's Ramayana, one of Asia's foundational epic poems and a story-cycle of formative historical importance all across South and Southeast Asia. On the Indian subcontinent, the Ramayana is not only central to religion and folklore but to the conduct of life. People take its characters as models of vice and virtue, courage and devotion, and politicians have been known to take advantage of the veneration in which the book is held. In the West, too, the Ramayana has long been recognized as one of the essential classics of world literature, on par with the Epic of Gilgamesh, the Homeric epics, Virgil, and Dante, even as its stories remain comparatively unfamiliar. In After Vivek Narayanan brings the resources of contemporary English poetry to bear on Valmiki's Ramayana. In a work that bears comparison with Christopher Logue and Alice Oswald's distinctive reshapings of Homer, and Anne Carson's Autobigraphy of Red, Narayanan allows the ancient voice of the poem to confront and engage with modern experience, initiating a transformative conversation across time.

In the spirit of his highly acclaimed and influential book Reality Hunger, David Shields has composed a mordantly funny, relentlessly self-questioning self-portrait based on questions that interviewers have asked him over forty years.David Shields decided to gather every interview he's ever given, going back nearly forty years. If it was on the radio or TV or a podcast, he transcribed it. He wasn't sure what he was looking for, but he knew he wasn't interested in any of his own answers. The questions interested him-approximately 2,700, which he condensed and collated to form twenty-two chapters focused on such subjects as Process, Childhood, Failure, Capitalism, Suicide, and Comedy. Then, according to Shields, "the real work began: rewriting and editing and remixing the questions and finding a through-line."The result is a lacerating self-demolition in which the author-in this case, a late-middle-aged white man-is strangely, thrillingly absent. As Chuck Klosterman says, "The Very Last Interview is David Shields doing what he has done dazzlingly for the past twenty-five years: interrogating his own intellectual experience by changing the meaning of what seems both obviously straightforward and obviously wrong."Shields's new book is a sequel of sorts to his seminal Reality Hunger: A Manifesto, which Literary Hub recently named one of the most important books of the last decade. According to Kenneth Goldsmith, "Just when you think Shields couldn't rethink and reinvent literature any further, he does it again. The Very Last Interview confirms Shields as the most dangerously important American writer since Burroughs."

Miguel Hernández is, along with Antonio Machado, Juan Ramón Jiménez, and Federico García Lorca, one of the greatest Spanish poets of the twentieth century. This volume spans the whole of Hernández’s brief writing life, and includes his most celebrated poems, from the early lyrics written in traditional forms, such as the moving elegy Hernández wrote to his friend and mentor Ramon Sijé (one of the most famous elegies ever written in the Spanish language), to the spiritual eroticism of his love poems, and the heart-wrenching, luminous lines written in the trenches of war. Also included in this edition are tributes to Hernández by Federico García Lorca, Pablo Neruda (interviewed by Robert Bly), Rafael Alberti, and Vicente Aleixandre. Pastoral nature, love, and war are recurring themes in Hernández’s poetry, his words a dazzling reminder that force can never defeat spirit, that courage is its own reward.

By the Winner of the Hans Christian Andersen Medal for Lifetime Achievement in Children''s LiteratureAlbert the glassblower and Sofia are the loving parents of little Klas and Klara. Albert makes the most beautiful glass bowls and vases (unfortunately they are so impractical that no one will buy them), while Sofia supports the family by working in the fields. Every year Albert goes to the fair to try to sell his wares, and sometimes Sofia and the children go too. At the fair the family meets Flutter Mildweather, a weaver of magical rugs that foretell the future, and Klas and Klara come the attention of the splendid Lord and Lady of All Wishes Town, who have everything they want except for one: children.   Full of curious and vivid characters—like the one-eyed raven Wise Wit, who can only see the bright side of life, and the monstrous governess Nana, whose piercing song can shatter glass—The Glassblower’s Children also ponders such serious matters as what it means to find meaningful work and the difference between what you want and what you need. In The Glassblower’s Children Maria Gripe has drawn on fairy tales and Norse myths to tell a thrilling story with a very modern sensibility.

A wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi.Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.

Newly translated, unfinished works about power, class conflict, and artistic inspiration by Russia's greatest poet.Alexander Pushkin, Russia’s foundational writer, was constantly experimenting with new genres, and this fresh selection ushers readers into his creative laboratory. Politics and history weighed heavily on Pushkin’s imagination, and in “Peter the Great’s African” he depicts the Tsar through the eyes of one of his closest confidantes, Ibrahim, a former slave, modeled on Pushkin’s maternal great-grandfather. At once outsider and insider, Ibrahim offers a sympathetic yet questioning view of Peter’s attempt to integrate his vast, archaic empire into Europe. In the witty “History of the Village of Goriukhino” Pushkin employs parody and self-parody to explore problems of writing history, while “Dubrovsky” is both a gripping adventure story and a vivid picture of provincial Russia in the late eighteenth century, with its class conflicts ready to boil over in violence. “The Egyptian Nights,” an effervescent mixture of prose and poetry, reflects on the nature of artistic inspiration and the problem of the poet’s place in a rapidly changing and ever more commercialized society.

Set in 1970s Japan, this tender and poetic novel about a young, single mother struggling to find her place in the world is an early triumph by a modern Japanese master.Alone at dawn, in the heat of midsummer, a young woman named Takiko Odaka departs on foot for the hospital to give birth to a baby boy. Her pregnancy, the result of a brief affair with a married man, is a source of sorrow and shame to her abusive parents. For Takiko, however, it is a cause for reverie. Her baby, she imagines, will be hers and hers alone, a challenge that she also hopes will free her. Takiko’s first year as a mother is filled with the intense bodily pleasures and pains that come from caring for a newborn. At first she seeks refuge in the company of other women—in the hospital, in her son’s nursery—but as the baby grows, her life becomes less circumscribed as she explores Tokyo, then ventures beyond the city into the countryside, toward a mountain that captures her imagination and desire for a wilder freedom.

This brutally gripping novel about the African-American Great Migration follows the three Moss brothers, who flee the rural South to work in industries up North. Delivered by day into the searing inferno of the steel mills, by night they encounter a world of surreal devastation, crowded with dogfighters, whores, cripples, strikers, and scabs. Keenly sensitive to character, prophetic in its depiction of environmental degradation and globalized labor, Attaway''s novel is an unprecedneted confrontation with the realities of American life, offering an apocalyptic vision of the melting pot not as an icon of hope but as an instrument of destruction. Blood on the Forge was first published in 1941, when it attracted the admiring attention of Richard Wright and Ralph Ellison. It is an indispensable account of a major turning point in black history, as well as a triumph of individual style, charged with the concentrated power and poignance of the blues.

The second volume of a titanic masterpiece of twentieth-century literature, named one of the best books of 2019 by The New York Times critics.Beginning in August 1967 and ending in August 1968, Uwe Johnson's Anniversaries unfolds the story of a year in the life of Gesine Cresspahl, a German émigré living in New York, and her ten-year-old daughter, Marie, a year during which Gesine tells Marie her own story of growing up under the Nazis and during and after World War II in a small north German town near the Baltic Sea. Comparable in richness of invention and depth of feeling to Joyce's Ulysses and Proust's In Search of Lost Time, Anniversaries is one of the world's great novels.Anniversaries, Volume 2 begins on April 20. Before long Marie will be devastated by the assassination of Robert F. Kennedy, even as the news of the Prague Spring has awakened Gesine's long-dashed hopes that Socialism could be a humanism. Meanwhile, her boss at the bank has his own ideas about Czechoslovakia, and Gesine faces the prospect of having to move there for work.Continuing the story of her past from Anniversaries, Volume 1, Gesine describes the Soviet occupation of her hometown, Jerichow, where her father was installed as mayor and ended up in a brutal prison camp. Gesine herself charts a rebellious course through school, ever more bitterly conscious of the moral ugliness of life behind the Iron Curtain. As the year of the novel comes to its end, past and present converge and the novel circles back to its beginnings: Gesine tells Marie about her father, Jakob, dead before she was born, about leaving East Germany, and, as history threatens to take them away from New York, about the beginning of their life together in the city that they have both come to love.

The first volume of a titanic masterpiece of twentieth-century literature, named one of the best books of 2019 by The New York Times critics.It is August 1967, and Gesine Cresspahl, born in Germany the year that Hitler came to power, a survivor of war, of Soviet occupation, and of East German Communism, has been living with her ten-year-old daughter, Marie, in New York City for six years. Mother and daughter find themselves caught up in the countless stories of the world around them: stories of work and school and their neighborhood, with its shifting and varied cast of characters, as well as the stories that Gesine reads in The New York Times every day--about Che Guevara, racial violence, the war in Vietnam, and the US elections to come. Now, with Marie growing up, Gesine has decided to tell her daughter the story of her own childhood in a small north German town in the 1930s and 1940s. Amidst memories of Germany's criminal and disastrous past and the daily barrage of news from a world in disarray, Gesine, conscientious, self-scrutinizing, with a sharp sense of humor, struggles to describe what she has learned over the years and what she hopes to pass on to Marie. Marie, articulate, quizzical, with a perspective that is very much her own, has plenty of questions too.Uwe Johnson's intimate portrait of a mother and daughter is also a panorama of past and present history and the world at large. Comparable in richness of invention and depth of feeling to Joyce's Ulysses and Proust's In Search of Lost Time, Anniversaries is one of the world's great novels.

A newly translated collection of fiction by the influential Italian modernist, continuing on his landmark work Zeno''s Conscience.A Very Old Man collects five linked stories, parts of an unfinished novel that the great Triestine Italo Svevo wrote at the end of his life, after the international success of Zeno’s Conscience in 1923. Here Svevo revisits with new vigor and agility themes that fascinated him from the start—aging, deceit, and self-deception, as well as the fragility, fecklessness, and plain foolishness of the bourgeois paterfamilias—even as memories of the recent, terrible slaughter of World War I and the contemporary rise of Italian fascism also cast a shadow over the book’s pages. It opens with “The Contract,” in which Zeno’s manager, the hardheaded young Olivi, expresses, like the war veterans who were Mussolini’s early followers, a sense of entitlement born of fighting in the trenches. Zeno, by contrast, embodies the confusion and paralysis of the more decorous, although sleepy, way of life associated with the onetime Austro-Hungarian Empire which for so long ruled over Trieste but has now been swept away. As always, Svevo is attracted to the theme of how people fail to fit in. It is they, he suggests, who offer a recognizably human countenance in a world ravaged by the ambitions and fantasies of its true believers.

A moving, posthumous collection of elegies and eclogues that meditate on nature, landscape, and history, by a great Hungarian poet.Szilárd Borbély spent his childhood in a tiny impoverished village in  northeastern Hungary, where the archaic peasant world of Eastern Europe  coexisted with the collectivist ideology of a new Communist state. Close to the Soviet border and far from any metropolitan center, the village was a world apart: life was harsh, monotonous, and often brutal, and the Borbélys, outsiders and “class enemies,” were shunned. In a Bucolic Land, Borbély’s final, posthumously published book of poems, combines autobiography, ethnography, classical mythology, and pastoral idyll in a remarkable central poetic sequence about the starkly precarious and yet strangely numinous liminal zone of his youth. This is framed by elegies for a teacher in which  the poet meditates on the nature of language and speech and on the adequacy of words to speak of and for the dead. Ottilie Mulzet’s English translation conveys the full power of a writer of whom László Krasznahorkai has said, “He was a poet—a great poet—who shatters us.”

A biography of a Jewish woman, a writer who hosted a literary and political salon in late eighteenth- and early nineteenth-century Germany, written by one of the twentieth century''s most prominent intellectuals, Hannah Arendt.Rahel Varnhagen: The Life of a Jewish Woman was Hannah Arendt’s first book, largely completed when she went into exile from Germany in 1933, though not published until the 1950s. It is the biography of a remarkable, complicated, passionate woman, and an important figure in German romanticism. Rahel Varnhagen also bore the burdens of being an unusual woman in a man’s world and an assimilated Jew in Germany.She was, Arendt writes, “neither beautiful nor attractive . . . and possessed no talents with which to employ her extraordinary intelligence and passionate originality.” Arendt sets out to tell the story of Rahel’s life as Rahel might have told it and, in doing so, to reveal the way in which assimilation defined one person’s destiny. On her deathbed Rahel is reported to have said, “The thing which all my life seemed to me the greatest shame, which was the misery and misfortune of my life—having been born a Jewess—this I should on no account now wish to have missed.” Only because she had remained both a Jew and a pariah, Arendt observes, “did she find a place in the history of European humanity.”

A moving family biography in which the poet traces her family history back through Jim Crow, the slave trade, and all the way to the women of the Dahomey people in West Africa. Buffalo, New York. A father's funeral. Memory. In Generations, Lucille Clifton's formidable poetic gift emerges in prose, giving us a memoir of stark and profound beauty. Her story focuses on the lives of the Sayles family: Caroline, "born among the Dahomey people in 1822," who walked north from New Orleans to Virginia in 1830 when she was eight years old; Lucy, the first black woman to be hanged in Virginia; and Gene, born with a withered arm, the son of a carpetbagger and the author's grandmother. Clifton tells us about the life of an African American family through slavery and hard times and beyond, the death of her father and grandmother, but also all the life and love and triumph that came before and remains even now. Generations is a powerful work of determination and affirmation. "I look at my husband," Clifton writes, "and my children and I feel the Dahomey women gathering in my bones."

Now back in print, a beautifully illustrated collection of twelve reimagined fairy tales, including classics like "Beauty and the Beast" and literary tales like Oscar Wilde's "The Happy Prince."Alice and Martin Provensen were one of the most talented husband-and-wife author-illustrator teams of the twentieth century. A long-out-of-print cult classic first published 50 years ago, The Provensen Book of Fairy Tales is a treasury of their illustrations accompanied by fairy tales from authors such as A. A. Milne, Hans Christian Andersen, and Oscar Wilde. Here too are clever retellings and newly imagined tales: refined old favorites like Arthur Rackham’s “Beauty and the Beast,” feminist revisions like Elinor Mordaunt’s “The Prince and the Goose Girl,” and sensitive stories by literary stylists like Henry Beston’s “The Lost Half-Hour” and Katharine Pyle’s “The Dreamer.” Full of magic, ingenuity, and humor, The Provensen Book of Fairy Tales is a witty modern descendant of Grimm’s Fairy Tales and a classic in its own right, sure to be beloved by a new generation.

A recipe for happiness: four women, one medieval Italian castle, plenty of wisteria, and solitude as needed.The women at the center of The Enchanted April are alike only in their dissatisfaction with their everyday lives. They find each other—and the castle of their dreams—through a classified ad in a London newspaper one rainy February afternoon. The ladies expect a pleasant holiday, but they don’t anticipate that the month they spend in Portofino will reintroduce them to their true natures and reacquaint them with joy. Now, if the same transformation can be worked on their husbands and lovers, the enchantment will be complete.The Enchanted April was a best-seller in both England and the United States, where it was a Book-of-the-Month Club selection, and set off a craze for tourism to Portofino. More recently, the novel has been the inspiration for a major film and a Broadway play.

An epic, single-poem tribute to the spirit of women, this is the first complete and final translation of the great Mexican poet's magnum opus.Forty-four years in the making, Migrations is considered by critics to be a masterpiece of modern Mexican literature. Gloria Gervitz's book is an epic journey in free verse through the individual and collective memories of Jewish women emigrants from Eastern Europe, a conversation that ranges across two thousand years of poetry, a bridge that spans the oracles of ancient Greece and the markets of modern Mexico, a prayer that blends the Jewish and Catholic liturgies, a Mexican woman's reclamation through poetry of her own voice and erotic power. In its reach, audacity, and astonishing vitality, Gervitz's extraordinary life's work bears comparison to the achievements of HD, Lorine Niedecker, Ezra Pound, and Walt Whitman.

A new translation of Dante's Purgatorio that celebrates the human elements of the second part of The Divine Comedy. This is a bilingual edition with an illuminating introduction from the translator. Winner of the American Literary Translators Association 2022 National Translation Award in Poetry.Purgatorio, the middle section of Dante’s great poem about losing, and subsequently finding, one’s way in the middle of one’s life is, unsurprisingly, the beating heart of The Divine Comedy, as this powerful and lucid new translation by the poet D. M. Black makes wonderfully clear. After days spent plumbing the depths of hell, the pilgrim staggers back to the clear light of day in a state of shock, the sense of pervasive dread and deep bewilderment with which he began his pilgrimage as intensified as it is alleviated by his terminal vision of evil. The slow and initially arduous climb up the mount of Purgatory that ensues, guided as always by Virgil, his poetic model and mentor, is simultaneously a reckoning with human limits and a rediscovery of human potential in the light of divine promise. Dante’s Purgatorio, which has been an inspiration to poets as varied as Shelley and T. S. Eliot, is a book full of human stories and philosophical inquiry; it is also a tale of individual reintegration and healing. Black, a distinguished psychoanalyst as well as a poet, provides an introduction and commentary to this masterpiece by Dante from a contemporary point of view in this bilingual edition.

A roman à clef about racism, identity, and bohemian living amidst the tensions and violence of Algerian War-era France, and one of the earliest published accounts of the Paris massacre of 1961.As a teenager, Simeon Brown lost an eye in a racist attack, and this young African American journalist has lived in his native Philadelphia in a state of agonizing tension ever since. After a violent encounter with white sailors, Simeon makes up his mind to move to Paris, known as a safe haven for black artists and intellectuals, and before long he is under the spell of the City of Light, where he can do as he likes and go where he pleases without fear. Through Babe, another black American émigré, he makes new friends, and soon he has fallen in love with a Polish actress who is a concentration camp survivor. At the same time, however, Simeon begins to suspect that Paris is hardly the racial wonderland he imagined: The French government is struggling to suppress the revolution in Algeria, and Algerians are regularly stopped and searched, beaten, and arrested by the French police, while much worse is to come, it will turn out, in response to the protest march of October 1961. Through his friendship with Hossein, an Algerian radical, Simeon realizes that he can no longer remain a passive spectator to French injustice. He must decide where his true loyalties lie.

A selection of original translations of the great Persian poet by an up-and-coming American translator and musician.Up until the age of 40, the 13th century Persian sage Rumi was chiefly known as a preacher and a man of serious and sober views. At that point, however, an encounter with the poet Shams of Tabriz left him utterly transformed. Rumi became a poet himself, a poet in singleminded pursuit of ecstatic illumination and liberation whose poetry is meant to induce a similar revelation in his audience, bringing them to a condition of serenity, compassion, and oneness with the divine. Rumi's poetry is a masterpiece of world literature to which readers in many languages continue to return for inspiration and succour as well as aesthetic delight. This new translation preserves the radical intelligence and the ecstatic drama of poems that are as full of individual character as they are of visionary wisdom.Marilyn Hacker, one of America's finest contemporary poets, praises Haleh Liza Gafori's new translations of Rumi as "the work of someone who is at once an acute and enamored reader of the original Farsi text, a dedicated miner of context and backstory, and, best of all, a marvelous poet in English."

The first English translation of an essential Austrian novel about life in early-twentieth-century Vienna, as seen through a wide and varied cast of characters.The Strudlhof Steps is an unsurpassed portrait of Vienna in the early twentieth century, a vast novel crowded with characters ranging from an elegant, alcoholic Prussian aristocrat to an innocent ingenue to “respectable” shopkeepers and tireless sexual adventurers, bohemians, grifters, and honest working-class folk. The greatest character in the book, however, is Vienna, which Heimito von Doderer renders as distinctly as James Joyce does Dublin or Alfred Döblin does Berlin. Interweaving two time periods, 1908 to 1911 and 1923 to 1925, the novel takes the monumental eponymous outdoor double staircase as a governing metaphor for its characters’ intersecting and diverging fates. The Strudlhof Steps is an experimental tour de force with the suspense and surprise of a soap opera. Here Doderer illuminates the darkness of passing years with the dazzling extravagance that is uniquely his.

Out of print for decades, this is the legendary American poet's tribute to Federico García Lorca, including translations of the great Spanish poet's work."Frankly I was quite surprised when Mr. Spicer asked me to write the introduction to this volume," writes the long-dead Spanish poet at the start of Jack Spicer's After Lorca, Spicer's first book and one that, since it first appeared in 1957, has continued to exert an an immense influence on poetry in America and in the world. "It must be made clear at the start that these poem are not translations," Lorca continues. "In even the most literal of them, Mr. Spicer seems to derive pleasure in inserting or substituting one or two words which completely change the mood and often the meaning of the poem as I have written it. More often he takes one of my poems and adjoins to half of it another of his own, giving an effect rather like an unwillling centaur. (Modesty forbids me to speculate which end of the animal is mine.) Finally there are an almost equal number of poems that I did not write at all (one supposes that they must be his)."The riddling, ghostly, funny, philosophical, and haunting poetry of After Lorca, interspered with Spicer's letters to Lorca ("A really perfect poem has an infinitely small vocabulary"; "Some poems are easily laid. They will give themselves to anybody") appears here with an introduction by Peter Gizzi, the executor of the Spicer estate and one of America's finest contemporary poets, in an edition that is printed in conformity with the poet's original intentions.