Bøger udgivet af CITY LIGHTS

Set in Guatemala, these spare and beautiful tales are linked by themes of magic, violence, and the fragility of existence. Paul Bowle's translation perfectly captures Rey Rosa's stories of the haunted lives of ordinary people in present-day Central America."A genuinely surprising and original set of stories¿a sense of violent unease shading into terror drifts up from every line¿his writing has a sharp, almost sadistic edge." —The Times Literary Supplement"Compelling in the extreme¿these twelve tales (that) boast of hidden dangers and lurking terrors, are written in a deceptively undramatic style, with masterful restraint. Stories that continue to disturb and delight long after they are laid to rest." —BlitzTwelve tales--many evoking the uncanny, most with surprise endings--explore how people seek to gain power from others. . . . Rey Rosa writes about danger and precarious stability in an effective, straightforward style." —Kirkus ReviewsRodrigo Rey Rosa (born November 4, 1958) is a Guatemalan writer. He has based many of his writings and stories on legends and myths that are indigenous to Latin American as well as North Africa. A number of Rey Rosa's works have been translated into English, including; The Path Doubles Back (by Paul Bowles), "The Pelcari Project," The Beggar's Knife, The African Shore, and Severina.

Villaurrutia Prize for Best Mexican NovelSet in an imaginary walled city off the coast of Morocco, Mogador traces the days and nights of Fatma, a young woman who finds herself suddenly seized by desire. As she wanders the city's maze of erotic pleasures, she encounters other desiring bodies and the desperate worlds those desires create. Here is a vital fusion of Latin America magical realism with Arabic geometric and mystical imagery, written in a style the author calls a "prose of intensities.""This extremely talented Mexican writer . . . assumes is own Islamic roots in one of the best-written novels of recent years. He is truly a painter of dreams, who manages to fuse the most unblemished sensuality with the most transparent spirituality."—Luce Lopez Baralt"Memorable novella about being both untouched and seized—all described in prose that mixes dreamy arabesque with crystalline precision."—Kirkus Review"Ruy Sanchez balances a double paradox: his novella about female desire, written by a man, criticizes Islamic and Latin-American concepts of male dominance. It's a dazzling philosophical conundrum—a Sphinx-like riddle that only a king or a poet could solve. In any event, the pervasive desire in Mogador is particularized: it's the calling out of one body to another, one spirit to another, one soul to another. . . . This infatuating novella is not about eroticism; it's about love."—William Hollinger, Boston ReviewAlberto Ruy Sanchez has written many works of fiction as well as literary and art criticism. He was an editor of Octavo Paz's Vuelta and is now editor and chief of Artes de México.Mark Schafer has translated works by Virgilio Piniera and, with Cedric Belfrage, The Book of Embraces by Eduardo Galeano.

The girls on the prowl in The Terrible Girls are indeed terrible--relentless in love, ruthless in betrayal. These thematically linked stories depict a contemporary Gothic world in which body parts are traded for love, wounds never heal, and self-sacrifice is often the only way out.

"what a poetand the clear water is thickwith bloody blows on its head.I embraced a cloudBut when I soaredit rained."—Frank O’Hara, “Mayakovsky” (1954)Mayakovsky's is one of the most compelling voices in twentieth-century Russian poetry. Born in 1893, he joined the Futurist movement in 1912 and soon established himself as one of Russia's major poets. In 1917, he rallied to the Russian Revolution and remained the indisputable leader of its artistic avant-garde until his suicide in 1930.Many of the poems in this book are translated for the first time into English. Accompanying the poems are rare drawings and lithographs by Mayakovsky and his circle, found in private collections of futurist books.

"After looking for him in the poems, we search for him in the prose. The pursuit of the Other in Pessoa's work is never-ending," writes Edwin Honig. Essential to understanding the great Portuguese poet are the essays written about (and by) his heteronyms—Alberto Caeiro, Ricardo Reis, and Alvaro de Campos—the several pseudonyms under which he wrote an extraordinary body of poetry. In Always Astonished, Pessoa and his several selves debate and discuss one another's work, revealing how Portuguese modernism was shaped. Fernando Pessoa is one of the great voices of twentieth-century literature, and these manifestos, letters, journal notes, and critical essays range through aesthetics, lyric poetry, dramatic and visual arts, and the psychology of the artist. He gives us, too, a singularly heterodox political position in his strange work of fiction, The Anarchist Banker."Eloquent, volatile and obsessed with life—and death—(Pessoa is one of the) modernist giants in whose shadow we live and who made our century one of the extraordinary richness."—The New York TimesFernando Pessoa is Portugal's most important contemporary poet. He wrote under several identities, which he called heteronyms: Albet Caeiro, Alvaro de Campos, Ricardo Reis, and Bernardo Soares. He wrote fine poetry under his own name as well, and each of his "voices" is completely different in subject, temperament, and style.

"From the introduction by Michael Hamburger: ""Baudelaire's prose poems were written at long intervals during the last twelve or thirteen years of his life. The prose poem was a medium much suited to his habits and character. Being pre-eminently a moralist, he needed a medium that enabled him to illustrate a moral insight as briefly and vividly as possible. Being an artist and sensualist, he needed a medium that was epigrammatic or aphoristic, but allowed him scope for fantasy and for that element of suggestiveness which he considered essential to beauty. His thinking about society and politics, as about everything else, was experimental; like the thinking of most poets it drew on experience and imagination, rather than on facts and general arguments. That is another reason why the prose poem proved a medium so congenial to Baudelaire."

Christopher Sawyer-Laucanno writes in his introduction to Destruction of the Jaguar that ""The Books of Chilam Balam are the only principal surviving texts of the ancient Maya. Written in the Mayan language but in European script, they are generally considered to be transcriptions and recompilations from memory of material originally contained in the hieroglyphic books, all of which were apparently destroyed by the Spaniards . . . As they stand now, they are a curious and fascinating combination of prophecy, history, chronology, ritual and mythology."Here is an English translation that captures the unparalleled beauty of one of the great pre-Columbian masterpieces. This stirring, prophetic poetry haunts our own times.

The nearly seventy poems in this bilingual anthology are concerned with many kinds of love: erotic love, sublime love, filial love, maternal love, and love between brother and sister. They also explore feelings of friendship, solidarity, and the altruistic love of all mankind. Ranging in time from the 13th century to the present day, these poems come from diverse traditions and countries--Argentina, Chile, Cuba, Mexico, Nicaragua, Peru, Puerto Rico, Spain, and Uruguay. Includes a concise biographical sketch of each of the poets.

From one of Guatemala’s finest young writers, these twenty-six stories—at once brutal and intensely lyrical—are peopled with sorcerers, ghosts, and assassins.Springing from myth and beliefs indigenous to Central America and North America, where their action occurs, Rey Rosa’s tales give the sense of being dreamed. At the same time they can be read as metaphors for the terror and oppression of years of warfare.Rodrigo Rey Rosa has based many of his writings and stories on legends and myths that are indigenous to Latin American as well as North Africa. A number of Rey Rosa's works have been translated into English, including; The Path Doubles Back (by Paul Bowles), Dust on her Tongue, "The Pelcari Project", The Beggar's Knife, The African Shore, and Severina. Along with his longer writings, he has also written a number of short stories that have been printed in college-level text books, such as "Worlds of Fiction, Second Edition" by Roberta Rubenstein and Charles R. Larson. A few of these short stories include The Proof, and The Good Cripple. Many of Rey Rosa's works have been translated into seven languages. In the early 1980s, Rey Rosa went to Morocco and became a literary protege of American expatriate writer Paul Bowles, who later translated several of Rey Rosa's works into English. When Bowles died in 1999, Rey Rosa became an executor of his literary estate.

Trenchant writings by that sardonic ""hombre invisible,"" William Seward Burroughs, perpetrator of Naked Lunch and other shockers. These malefic and beatific, mordant and hilarious straight-face reports on life are mostly from scatter-shot publications in obscure places, foreign and domestic. Including complete texts from White Subway, Cobblestone Gardens, and The Retreat Diaries, this collection delineates Burroughs' comprehensive world-view and his ""insurrectionary sense of America's underside," as Tom Carson epitomized it in The Village Voice.Also included are essays on Burroughs by Alan Ansen and Paul Bowles, and facsimile pages from the famous cut-up scrapbooks of the mid-century: The Book of Hours, John Brady's Book, and The Old Farmer's Almanac.

Motel Chronicles reveals the fast-moving and sometimes surprising world of the man behind the plays that have made Sam Shepard a living legend in the theater. Shepard chronicles his own life birth in Illinois, childhood memories of Guam, Pasadena and rural Southern California, adventures as ranch hand, waiter, rock musician, dramatist and film actor. Scenes from this book form the basis of his play Superstitions, and of the film (directed by Wim Wenders) Paris, Texas, winner of the Golden Palm Award at the 1984 Cannes Film Festival." . . . essential reading. A scrapbook of short stories, autobiographical reveries, poetry and photographs, Motel Chronicles is full of verbal delights, as well as insights into its author's entire canon. Whether Mr. Shepard is reminiscing about his parents or daydreaming about cherished movies and cars of his youth, he speaks in pungent and ethereal language that remakes our West. Read in conjunction with the plays, Motel Chronicles also helps demystify the origins of Mr. Shepard's psychological obsessions and desolate frontier iconography."—Frank Rich, New York Times"If plays were put in time capsules, future generations would get a sharp-toothed profile of life in the U.S. in the past decade and half from the works of Sam Shepard."—Time"Sam Shepard is a shaman—a New World shaman. Sam is as American as peyote, magic mushrooms, Rock and Roll, and medicine bundles."—Jack GelberSam Shepard (1943) is a playwright, actor, author, screen writer and director whose work is performed on and off Broadway and in other theaters across the country. In 1979, he received the Pulitzer Prize for Drama for his play Buried Child. In 1983, he was nominated for an Academy Award for Best Supporting Actor in The Right Stuff. His other famous works include True West, A Lie of the Mind and Curse of the Starving Class. Fool For Love & the Sad Lament of Pecos Bill by Sam Shepard was also published by City Lights Publishers.

"Plutonian Ode: Title" poem combines scientific info on 24,000-year cycle of the Great Year compared with equal half-life of Plutonium waste, accounting Homeric formula for appeasing underground millionaire Pluto Lord of Death, jack in the gnostic box of Aeons, and Adamantine Truth of ordinary mind inspiration, unhexing nuclear ministry of fear. Following poems chronologies Wyoming grass blues, a punk-rock sonnet, personal grave musing, Manhattan landscape hypertension, lovelorn heart thumps, mantric rhymes, Neruda's tearful Lincoln ode retranslated to U.S. vernacular oratory, Nagasaki Bomb anniversary haikus, Zen Bluegrass raunch, free verse demystification of sacred fame, Reznikoffian filial epiphanies, hot pants Skeltonic doggerel, a Kerouackian New Year's eve ditty, professional homework, New Jersey quatrains, scarecrow haiku, improvised dice roll for high school kids, English rock-and-roll sophistications, an old love glimpse, little German movies, old queen conclusions, a tender renaissance song, ode to hero-flop, Peace protest prophecies, Lower East Side snapshots, national flashed in the Buddhafields, Sapphic stanzas in quantitative idiom, look out at the bedroom window, feverish birdbrain verses from Eastern Europe for chanting with electric bands, Beethovinean ear strophes drowned in rain, a glance at Cloud Castle, poems 1977-1980 end with International new wave hit lyric Capitol Air

Meditations, rhapsodies, elegies, confessions, and mindful chronicle writings filling inward and outward space thru mid-Seventies decade.Mind Breaths: Australian songsticks measure oldest known poetics, broken-leg meditations march thru Six Worlds singing crazy Wisdom's hopeless suffering, the First Noble Truth, inspiring quiet Sung sunlit greybeard soliloquies, English moonlit night-gleams, ambitious mid-life fantasies, Ah crossed-legged thoughts sitting straight-spine paying attention to empty breath flowing 'round the globe;' then Dharma elegy & sharp-eyed haiku. Pederast rhapsody, exorcism of mid-East battlegods, workaday sad dust glories, American ego confession & mugging downfall Lower East Side, hospital sickness moan, hydrogen Jukebox Prophecy, Sex come-all-ye, mountain cabin flashes, Buddhist country western chord changes, Rolling Thunder snowballs, a Jersey Shaman dream, Father Death in a graveyard near Newark, Poe bones, two hot hearted love poems: Here chronicled mid Seventies' half decade inward & outward Mindfulness in many Poetries

Stories and journal notes by an extraordinary young woman--adventurer and traveler, Arabic scholar, Sufi mystic and adept of the Djillala cult.Isabelle Eberhardt (1877-1904) was an explorer who lived and traveled extensively throughout North Africa. She wrote of her travels in numerous books and French newspapers, including Nouvelles Algeriennes (Algerian News) (1905), Dans l'Ombre Chaude de l'Islam (In the Hot Shade of Islam) (1906), and Les journaliers (The Day Laborers) (1922).Paul Bowles has taped and translated numerous strange legends and lively stories recounted by Mrabet: Love with a Few Hairs (novel), The Lemon (novel), The Boy Who Set Fire (stories), Harmless Poisons, Blameless Sins (stories), The Beach Cafe & Look & Move On (autobiography), and The Big Mirror (novella).

This important and much-disputed essay edited by Ezra Pound from the manuscript of Ernest Fenollosa (and published in Instigations, London, 1920) has since gone through several editions, despite the ridicule of such sinologists as Professor George Kennedy of Yale, who called it "a small mass of confusion."The old theory as to the nature of the Chinese written character (which Pound and Fenollosa followed) is that the written character is ideogrammic—a stylized picture of the thing or concept it represents. The opposing theory (which prevails today among scholars) is that the character may have had pictorial origins in prehistoric times but that these origins have been obscured in all but a few very simple cases, and that in any case native writers don’t have the original pictorial meaning in mind as they write.Whether Pound proceeded on false premises remains an academic question. Let the pedants rave. An important extension of imagist technique in poetry was gained by Pound’s perception of the essentially poetic nature of the Chinese character as it is still written."Scholarly edition that combines the first full publication of Fenollosa's essay as he wrote it, along with the 1919 version of the essay as altered by Ezra Pound."—The Chronicle of Higher Education"How can we come to a new understanding of Chinese classical literature when our inherited view of it is so powerfully shaped and conditioned by a 'strong misreading,' which is a vital part of our own poetic language? This question afflicts Haun Saussy in his extraordinary introduction to a new critical edition of The Chinese Written Character as a Medium for Poetry, which presents both the edited and original versions of Fenollosa's essay."—The Threepenny Review"Fenollosa's critical assessment of what could evolve from a blending of the East and West is perhaps more relevant today than when it was written."—Oyster Boy Review"This book—indispensable to anyone following modern poetics—reminds us that one of the four most influential modern essays on poetry (the others are T.S. Eliot's) was the product of a scholar-translator, writing in 1903, well before there was any modern poetry in English. Fenollosa's belief that the Chinese language is profoundly suited to poetry is well known, but because of Pound's editing, we had no way of knowing what Fenollosa made of the music of poetry. Least of all could we have imagined that he thought the music of this poetry was better preserved by Japanese phonics than by living Chinese speakers. Fenollosa was an idealistic advocate of Anglo-American empire fused with pan-Asian 'humanity,' by which he meant roughly what is covered by the term 'humanities.' He saw the approach of a peaceful east/west fusion, economic, military, and cultural, and sought to guide its arrival by elucidating the art of classical Chinese poetry, without any expectation that his essay would alter the ways that Anglo-American poets shape sentences. This handsome edition is a major contribution to the history of modern poetics. Until now we have known little of the intellectual, political, and religious context of this great essay on diction and syntax. Haun Saussy, Jonathan Stalling, and Lucas Klein reveal the range and growth of Fenollosa's still appealing conviction that modern poetry has to go far beyond national borders."—Robert von Hallberg, University of Chicago

"People come to my door--too many of them really--and knock to tell me Notes of a Dirty Old Man turns them on. A bum off the road brings in a gypsy and his wife and we talk. . . drink half the night. A long distance operator from Newburgh, N.Y. sends me money. She wants me to give up drinking beer and to eat well. I hear from a madman who calls himself 'King Arthur' and lives on Vine Street in Hollywood and wants to help me write my column. A doctor comes to my door: 'I read your column and think I can help you. I used to be a psychiatrist.' I send him away. . ."