A complete edition of all the texts in the Ugaritic Data Bank. A concordance is available separately. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

A concordance of the Ugaritic texts (published separately) of the Ugaritic Data Bank. Each word is presented in its proper context. A valuable tool for every Ugaritic scholar.

There is a proverb in China, hu kou ba ya, literally “pulling teeth from a tiger's mouth,” used to describe any extremely difficult task. When Shao Wei first arrived in the United States at age thirty-one, her desire to write poems in English seemed almost impossible. Pulling a Dragon's Teeth, a first stop on the successful journey toward that goal, is filled with the rhythms and visions of this exciting young poet. Shuttling between her childhood in a small mountain city on the shores of the Yangtze River (soon to be flooded by the Three Gorges Dam Project) and adulthood in Manhattan, Shao Weicaptures the pains and joys of tradition and displacement familiar to any immigrant. Blending fairy tales, New York images, family stories, and the universal rites of passage associated with growing up, she paints a vibrant canvas of passion and imagination.

Published in 1890, Caesar's Column is an account of a trip to New York City in 1988 by a visitor from the Swiss colony of Uganda. The great metropolis dazzles with its futuristic technology, but its ostentatious wealth and luxury mask the brutal repression of the laboring classes by their rich bosses. The workers, aided by international terrorists, stage a violent revolt and the narrator flees the devastated city by airship to found an agrarian utopia in Africa. Fueled by outrage at social conditions, Caesar's Column was the first major dystopian novel in the English language. Its author, Ignatius Donnelly, was the most famous-and controversial-American populist politician of the day, and his book became a huge bestseller and was often compared to such utopian works as Edward Bellamy's Looking Backward (1888) and William Morris's News from Nowhere (1890). This Wesleyan edition includes an insightful introduction and notes by Nicholas Ruddick.

Poet and visual artist Faye Kicknosway presents both new works and twenty-five years of celebrated verse and illustration in her latest volume, Mixed Plate: New and Selected Poems. The poems mine common speech, folklore, film, the grotesque and the ordinary with unapologetic candor and ferocious intimacy. They are a testament to the power of contemporary monologue, filled with surprising inversions and unique takes on the risk of opening the front door. Cutting musically to the quick of a situation, each is filled with surprise, horror and, as they add up, moral consequence.

In a poetic voice that is at once reflective and lively, Sandra Kohler explores the patterns of everyday life and the inner drama of imagination. Though these poems are mostly set amidst the familiarity of a suburban household and the family garden, this environment appears far from mundane as Kohler peels away the veneer of domestic tranquility to reveal a world busy with human passion and the rhythms of the earth. Nature is present at every turn, an ethereal twin, as the narrator’s emotions take the form of cardinals in flight, a rushing river, or a potato sprouting from the dark.

"The days of anything static-form, content, state-are over," declares poet and translator Pierre Joris in A Nomad Poetics, his first collection of critical essays. Joris maps the success and limitations of contemporary avant-garde poetics, from Tristan Tzara to the most contemporary American experimental poetry, an investigation that leads him to envision a "nomadic poetics" as a strategy for new poetic work, for translation and, fundamentally, for an ethics of early 21st century life. Extending concepts and concerns voiced by Gilles Deleuze and Félix Guattari, A Nomad Poetics is a daring first step in deploying the method of the rhizome, one grounded in Paul Celan's insight that "Reality is not. It has to be searched for and won." With articulate immediacy, Joris's essays announce a metamorphosis of language-based art, much needed if poetry is to be of essential use in shaping the world to come.

Don Bogen's latest volume, Luster, takes on everything from bullhorns to the cultivation of olive trees in poems that are sharp-edged and open to surprise. They capture not just things themselves but the essential contexts-history, power, the personal and the social-that give them meaning. The stylistic dexterity and range of approaches here make the book as rich as the world it engages. Luster includes evocations of place and memory, character studies of figures from Coleridge to Tarzan, a verse epistle, and an extended meditation on machines in our daily lives, all within an overarching vision. From racehorses to waterwheels to great cities, Bogen illuminates "things that go," in both their dynamism and their inevitable decay. Luster traces the sheen of human activity that clings to the world around us: imperfect, irrevocably marred by time, but always gleaming.

The double-dactyl, a poetic form never intended for the serious or high-minded', was invented in 1951. One of the form's rules is that the verse must contain a double-dactyl name, such as Higgledy-Piggledy . This collection, the result of an obsession of the authors, substitutes the doubl-dactyl rhyme with a Latin expression or tag, providing a witty poetic tour through Roman history. Beginning with Aeneas and ending with the last emperors, each brief poem is faced with an original drawing and accompanied by a short piece of text that sets the historical scene. Includes a glossary of Latin tags.

The characters in Speed-Walk and Other Stories often find themselves dislocated, living in places that do not resemble or feel like home. Their lives have somehow been turned on their axes, and often they cannot comprehend why. The stories in this stunning debut collection are united by their protagonists' common quest to make sense of the world, to bring it into focus, to set it right, to adapt. In selecting Suzanne Greenberg's fiction for the 2003 Drue Heinz Literature Prize, Rick Moody wrote, "A charge sometimes leveled against contemporary fiction these days is that it has abrogated its responsibility to depict civilization as it actually exists. . . . Speed-Walk replies forcefully to this aesthetic error by locating its protagonists in completely recognizable environments. . . . [They] are ever engaged by the routines of American life: walking the dog, eating at the sushi bar, doing the laundry." Tightly written yet realistically spare, these stories provide a blueprint for survival when the unexpected is thrust into an ordinary life.

Ostinato Vamps is Wanda Coleman's first book of poetry since the demise of her longtime publisher, Black Sparrow Press. It continues and enlarges the traits that have been her hallmark for more than three decades: a fierce adherence to the truth and a language so musical one can almost hear the blues line underneath her stanzas.Linguistically daring, lyrically breathtaking, stylistically bold, these poems both explore familiar territory and shatter stereotypes. Life is difficult, often unfair, but it belongs to the living, as Coleman reminds us in no uncertain terms. Racing between an earthy eroticism and fatalistic despair, filled with humor and tragedy, these poems are alive. They breathe. They challenge us even as they reward us for seeking the truth.