An International Poetry Forum Selection, translated from the Swedish by May Swenson with Leif Sjöberg. Tomas Tranströmer 2011 Nobel Laureate in Literature “Tomas Tranströmer, who is today one of Sweden’s most distinguished poets . .

Few creative movements have been more influential than the Bauhaus, under the leadership of Walter Gropius. The art of the theater commanded special attention. The text in this volume is a loose collection of essays by Oskar Schlemmer, Laszlo Moholy-Nagy, and Farkas Molnár (who in an illustrated essay shares his vision of a total theatre space), with an introduction by Bauhaus leader Walter Gropius. Originally published in German in 1924, Die Bühne im Bauhaus was translated by A. S. Wensinger and published by Wesleyan in 1961. It was prepared with the full cooperation of Walter Gropius and his introduction was written specially for this edition.From Bauhaus experiments there emerged a new aesthetic of stage design and presentation, a new concept of "total theater." Its principles and practices, revolutionary in their time and far in advance of all but the most experimental stagecraft today, were largely the work of Oskar Schlemmer, Laszlo Moholy-Nagy, and their students. Profusely illustrated and startling in its typography (the work of Moholy-Nagy), the 1924 volume quickly became a collector's item and is now virtually unobtainable. Those interested in the stage, the modern visual arts, or in the bold steps of the men of genius who broadened the horizons of aesthetic experience will appreciate that this translation is available again.

Shelton says of his work: "I consider myself a regionalist and a surrealist. I have lived in the desert for ten years and hope that my work reflects that fact." In the forty-seven poems in this collection the poet moves backward and forward through time but always in the same landscape, the desert-mountains of southern Arizona, which foster his surrealistic view of his interior conflict. He is followed by peculiarly insistent voices from the past.

This first full-scale treatment of the early prose of Dylan Thomas demonstrates the unity of his total work. Pratt argues that the inward journey of the poetic imagination which is implicit in poetry is often explicit in prose. Her study of ThomasÆ early prose alongside his early poetry helps to elucidate all of his writing. Pratt includes three appendices: a chronology, a summary of the criticsÆ attitudes toward the problem of influence, and a bibliographical sketch of materials in the Parris surrealist magazine transition, which are paralleled in ThomasÆ prose.

C.D. Wright has described Roberson’s work as “lyric poetry of meticulous design and lasting emotional significance," comparing its musical qualities to the work of saxophonist Steve Lacy, jazz pianist Thelonious Monk, and composer Johann Sebastian Bach.

With that three-line epigraph, David Ignatow declares the thrust and purpose of his compelling new book. Unlike his previous work, which was written largely in reaction to the world about him-the urban landscape with its clamor and violence and business pressures-these new poems turn inward. They explore and confirm the individual in his never ending search for awareness and realization: a process in which conflict, love, sorrow, and insight in the end come together into a precarious balance that is its own form of peace.

The four main essays in this volume investigate new sectors of the theory of decision, preference, act-characteristics, and action analysis. Herbert A. Simon applies tools developed in the theory of decision-making to the logic of action, and thereby develops a novel concept of heuristic power. Adapting ideas from utility and decision theory, Nicholas Rescher proposes a logic of preference by which conflicting theories proposed by G. H. von Wright, R. M. Chisholm, and others can be systematized. Donald Davidson discusses difficulties in specifying the structure of action sentences to elucidate how their meaning depends on that structure. G. H. von Wright devises a method for describing each \u201cstate of the world\u201d that results from an action, in a revision of his own earlier work. Additionally, a study of the logic of norms by Alan Ross Anderson is presented as an appendix, along with an appendix by Rescher outlining the aspects of action.

This volume represents, under one cover, the major work of the man whom critics and readers have designated the authentic poet of his American generation. For this collection, James Dickey has selected from his four published books all those poems that reflect his truest interests and his growth as an artist. He has added more than a score of new poems - in effect, a new book in themselves - that have not previously been published in volume form. Specifically, Poems 1957-1967 contains 15 of the 24 poems that were included in his first book, Into the Stone (1960); 25 of the 36 that made up Drowning With Others (1962); 22 of the 24 in Helmets (1964); the entire 22 in the National Book Award winner Buckdancer's Choice (1965); and, under the titles Sermon and Falling, the exciting new poems mentioned above. Seldom can the word "great" be used of the work of a contemporary in any art. But surely it applies to the poems of James Dickey.

This volume offers an unusual variety of topics presented during the sixth annual Oberlin Colloquium in Philosophy. The subjects covered include: refuting J. L. Austin's attempt to destroy philosophers' assumptions on the nature and purpose of a \u201cstatement;\u201d false premises found in \u201cSt. Anselm's Four Ontological Arguments;\u201d pain in connection with brain-state and functional-state theories; aesthetics in light of questions of fraudulence in modern art and music, and an analytical deconstruction of mystical experience.

This volume offers an unusual variety of topics presented during the fifth annual Oberlin Colloquium in Philosophy. Essays topics include: a dispute of the standard deductivist account of scientific testability; two definitions of \u201cnonsense\u201d that are closely related and correlate to science's concern with truth and philosophy's concern with concepts; contesting the causes of voluntary actions purported in Hart and Honor\u00e9's Causation and the Law; distinguishing two kinds of metaphysical tasks-—taxonomic and evaluative; and discussions of \u201cwhat a thing is\u201d in terms of its qualities and particulars and the distinction between numerical and conceptual differences, universals and individuation.

Whoever looks to a new book by James Dickey for further work in an established mode, or for mere novelty, is going to be disappointed. But those who seek instead a true widening of the horizons of meaning, coupled with a sure-handed mastery of the craft of poetry, will find this latest collection satisfying indeed.Here is a man who matches superb gifts with a truly subtle imagination, into whose depths he is courageously traveling-pioneering-in exploratory penetrations into areas of life that are too often evaded or denied. "The Firebombing," "Slave Quarters," "The Fiend"-these poems, with the others that comprise the present volume, show a mature and original poet at his finest.

The fifteen papers in this volume deal with the two overlapping topics of knowledge and experience from the perspective of analytic philosophical inquiry. The topics addressed are prominent in the work of such modern philosophers as Ludwig Wittgenstein, Bertrand Russell, C. I. Lewis, Gilbert Ryle, A. J. Ayer, and John L. Austin. Contributors include: Hector-Neri Casta\u00f1eda, Newton Garver, Arthur N. Prior, John R. Searle, G. J. Warnock, with commentary by Paul Benacerraf, V. C. Chappell, Carl Ginet, F. A. Siegler, James F. Thomson, Zeno Vendler, and Paul Ziff.

Working with the complete collection of Tender is the Night manuscripts in the Princeton University Library, Matthew J. Bruccoli reconstructs seventeen drafts and three versions of the novel to answer questions about F. Scott FitzgeraldÆs major work that have long puzzled critics of modern literature. In 1934, nine years after the appearance of The Great Gatsby, Fitzgerald permitted publication of Tender is the Night. Disappointed by its critical reception, Fitzgerald suggested that the structure of the novel should be drastically rearranged. In 1951, eleven years after his death, Charles ScribnerÆs Sons brought out an edition that incorporated FitzgeraldÆs changes. Controversy arose over the merits of the two published versions and over the \u201cnine lost years\u201d in FitzgeraldÆs life between his two great novels, years of rewriting before publication of Tender is the Night that resulted in six cartons of notes and drafts. After analyzing this wealth of material, Bruccoli reconstructs every working stage in the novel and reaches his own conclusions about which edition is the most valid.

During the years 800-1200 A.D., Arabic scholars studied many of the works of Greek philosophy, and recorded their interpretations. Significant Arabic interpretations of Aristotle's Prior Analytics, the key work of his logical Organon, however, have remained largely unavailable in the West. The recent discovery of several Arabic manuscripts in Istanbul revealed the \u201cShort Commentary on Prior Analytics\u201d by the medieval Arabic philosopher al-Farabi. Nicholas Rescher here presents the first translation of this work in English, and supplements this with an informative introduction and numerous explanatory footnotes.

During the early 1930s, after James Gould Cozzens had published four romantic novels and then withdrawn them from circulation, he wrote the first three of what Brenden Gill called his eight \u201ccanonical works.\u201d But it was only after the publication of By Love Possessed in 1957 that he achieved wide popularity. Mooney closely examines each of CozzensÆ novels, isolating and defining his main themes and addressing the critical acclaim and condemnation of his works. Among the novels Mooney analyzes are: S.S. San Pedro, Castaway, The Last Adam, Men and Brethren, Ask Me Tomorrow, The Just and the Unjust, Guard of Honor, and By Love Possessed.

These new poems by the author of Saint Judas and The Green Wall embody a sharp break with his earlier work. Their impact is well described by the British critic Michael Hamburger: "He has absorbed the work of modern Spanish and other continental poets and evolved a medium of his own. This medium dispenses with argument and rhetoric, and presents the pure substance of poetry, images which are 'the objective correlatives' of emotion and feeling. It is only in the new collection that Wright has found this wholly distinctive voice."Mr. Wright is well known for his previous books and his contributions to virtually every literary journal of importance. His numerous honors include a Fullbright fellowship, a Kenyon Review fellowship, and many other prizes and awards.