Brion Gysin (1916-1986) was a visual artist, historian, novelist, and an experimental poet credited with the discovery of the 'cut-up' technique -- a collage of texts, not pictures -- which his longtime collaborator William S. Burroughs put to more extensive use. He is also considered one of the early innovators of sound poetry, which he defines as 'getting poetry back off the page and into performance. ' Back in No Time gathers materials from the entire Gysin oeuvre: scholarly historical study, baroque fiction, permutated and cut-up poetry, unsettling memoir, selections from The Process and The Last Museum, and his unproduced screenplay of Burroughs' novel Naked Lunch. In addition, the Reader contains complete texts of several Gysin pieces that are difficult to find, including "Poem of Poems," "The Pipes of Pan," and "A Quick Trip to Alamut."

The 4,000-page Bibliotheca Orientalis Clementino-Vaticana is described as “the first and best encyclopedia for the study of early Syriac Christian literature” by the Blackwell Dictionary of Eastern Christianity. It is the standard encyclopedia in the field.

The 4,000-page Bibliotheca Orientalis Clementino-Vaticana is described as “the first and best encyclopedia for the study of early Syriac Christian literature” by the Blackwell Dictionary of Eastern Christianity. It is the standard encyclopedia in the field.

The 4,000-page Bibliotheca Orientalis Clementino-Vaticana is described as “the first and best encyclopedia for the study of early Syriac Christian literature” by the Blackwell Dictionary of Eastern Christianity. It is the standard encyclopedia in the field.

The 4,000-page Bibliotheca Orientalis Clementino-Vaticana is described as “the first and best encyclopedia for the study of early Syriac Christian literature” by the Blackwell Dictionary of Eastern Christianity. It is the standard encyclopedia in the field.

The 4,000-page Bibliotheca Orientalis Clementino-Vaticana is described as “the first and best encyclopedia for the study of early Syriac Christian literature” by the Blackwell Dictionary of Eastern Christianity. It is the standard encyclopedia in the field.

The Syriac manuscript collection at the British Library is one of the largest and most important collections in any Western library. A great deal of it comes from Deir al-Suryan in Egypt, and without it our knowledge of Syriac Christianity today would not have been possible.

The Syriac manuscript collection at the British Library is one of the largest and most important collections in any Western library. A great deal of it comes from Deir al-Suryan in Egypt, and without it our knowledge of Syriac Christianity today would not have been possible.

The Syriac manuscript collection at the British Library is one of the largest and most important collections in any Western library. A great deal of it comes from Deir al-Suryan in Egypt, and without it our knowledge of Syriac Christianity today would not have been possible.

This Cambridge collection includes manuscripts that were formerly in private hands, most notably the manuscripts of John Moore, Bishop of Ely, which were presented to the University by King George I in 1715.

This Cambridge collection includes manuscripts that were formerly in private hands, most notably the manuscripts of John Moore, Bishop of Ely, which were presented to the University by King George I in 1715.

An English translation of the first collection of modern Arabic poetry. The significance and vogue of these poems lies in the fact that they divert from the traditional Arabic poem and provide scholars with fresh material for study.

Joanie Mackowski’s debut collection of poetry is meditative, vivid, sometimes weird. Turning an idiosyncratic eye to the inhabitants of zoos and fish tanks, cafes and cemeteries, she illuminates details that make the familiar seem strange. An egret stands "still as a glass of milk"; iceberg lettuce is a "vegetable leviathan" that "extends beneath the dinner table / an unseen, monstrous green"; a bald eagle may "love a jet? — / or worship them all, or mock them, rigid / freaks that never linger."

Archaeological excavation at the site of Poyle House, a derelict Georgian country house, revealed limited evidence of earlier buildings on the site. These comprised the beamslots of a possible farm range, and structural remains of the north wall of a medieval house. The buildings formed part of the medieval Poyle Manor, and limited artefactual evidence suggests that occupation began during the late 11th or 12th centuries. This short report focuses on the artefactual evidence (pottery, waterlogged wood, building materials, metal objects and worked flint) and environmental remains, dating back as far as the Mesolithic period.

In Drafts 1-38, Toll, Rachel Blau DuPlessis has built a work which mimics memory and its losses, and which plays with the textures of memory, including its unexpectedness, its flashes and disappearances. Her recurrent motifs and materials include home, homelessness and exile; death and the memory of the dead; political grief and passion; silence, speech, the sayable and the ineffable. Drafts 1-38, Toll functions as a long poem comprised of 38 pieces, or drafts. These poems are conceived as autonomous "canto-like" sections that work on two procedural principles. One is the random repetition of lines or phrases across poems, a self-questioning, processual, and reconceptualizing strategy that honors the term "drafts." A second procedural principle is "the fold." This is the reconsideration of a "donor draft" and the deployment of some aspect in the donor draft in a related draft. The periodicity of this reconsideration is the number 19; hence drafts 1-19 make up the original layer, while drafts 20-38 constitute the first fold on top of this material.

Jean de La Fontaine (1621 - 1695), one of the best-loved French poets, is the foremost fabulist since Aesop, and his books have entertained generations of readers throughout France and the Western world. In Once Again, La Fontaine, Norman R. Shapiro brings his scholarly knowledge of fable lore and outstanding facility with English verse together to produce beautiful, witty translations. Adults will be captured by the subtle and sophisticated layers of meaning which Shapiro has skillfully brought to light, and children will delight in the moral tales. Readers of all ages will appreciate the sly and charming illustrations by David Schorr.