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The Flowery Death is a groundbreaking exploration of xochimiquiztli, or “flowery death,” a central concept in the pre-Hispanic Nahua worldview. In the highly militarized societies of the Valley of Mexico, dying in honor of the gods—on the battlefield, in ritual sacrifice, or in childbirth—was not only a social expectation but also a path to spiritual glory. While this idea appears throughout colonial sources, previous studies have relied largely on the writings of Bernardino de Sahagún and other European chroniclers, whose perspectives often simplify or distort Indigenous understandings.

Drawing on the rich oral tradition preserved in the sixteenth-century manuscript Cantares Mexicanos, this book provides one of the first English translations of these songs since John Bierhorst’s 1985 translation. It combines paleographic fidelity, literal English translation, and detailed interpretation, revealing the metaphor- and symbol-rich meanings behind the songs. The book is divided into two interrelated parts: The first reconstructs the Nahua worldview, contextualizing war, death, and sacrifice through myths, chronicles, and visual sources; the second presents selected songs, offering readers the tools to understand their metaphors, historical references, and symbolic language, making the work both a scholarly reference and an accessible guide for students and enthusiasts.

By examining the cultural, religious, and social significance of xochimiquiztli, The Flowery Death provides fresh insights into Nahua ideology, gender roles, and collective memory. It is essential reading for anyone interested in Mesoamerican culture, early colonial history, and the power of Indigenous oral traditions.

Emilio Carballido was one of the most innovative and accomplished of Mexico's playwrights and one of the outstanding creators in the new Latin American theater. By his mid-forties he had already produced an impressive body of works in two very different veins. On the one hand, he mastered the techniques of the "well-made play." On the other, he developed a richly rewarding vein of fantasy, sometimes poetic, sometimes comic, sometimes macabre—and sometimes all three.

The plays in this volume are in the latter vein, ranging from surrealist farce in "The Intermediate Zone" to the grotesqueries of "The Time and the Place," from tragicomedy in "Theseus" to the dreamlike permutations of "The Golden Thread." But even at his most fantastic, Carballido never loses his remarkable gift for characterization: his peevish Minotaur, his raffish Nahual (were-jaguar) are wholly believable monsters.

The high level of interest in Latin America paradoxically led the U.S. government to restrict these authors' physical presence in the United States through the McCarranWalter Act's immigration blacklist, even as cultural organizations cultivated the exchange of ideas with writers and sought to market translations of their work for the U.S. market.

Ahmad Mahmoud sets The Neighbors against the backdrop of the oil nationalization crisis that gripped Iran in the early 1950s. His protagonist, Khaled, a young man from a rundown neighborhood in Ahvaz, a city in southern Iran, becomes involved in the struggle to wrest Iran’s oil industry from the British and, as the result of his political activities, comes to realize that there is more to life than the drudgery and poverty his parents and neighbors have experienced.

The Neighbors, published in 1974, cemented Mahmoud’s reputation as a novelist and captured the ethos of a generation—the generation that laid the groundwork for those who continue to struggle for democracy in Iran today. Though the novel received considerable praise and was read widely, its political nature earned the ire of Mohammad Reza Shah’s regime, and the Islamic Republic has objected to its sexually explicit content. This is the first time one of Ahmad Mahmoud’s novels has appeared in English translation.

Since the publication of her first book in 1967, Ewa Lipska has been among the most acclaimed of contemporary Polish poets. Yet, to date she has not enjoyed the same popularity in the United States as her fellow Poles Wislawa Szymborska, Czeslaw Milosz, and her contemporary Adam Zagajewski. The New Century: Poems, a selection of her recent work, introduces to an American audience the work of an underappreciated master.

Although Lipska’s work displays an acute awareness of history and politics, she’s nonetheless most concerned with individual experience and the most difficult philosophical questions of evil. Lipska is capable of being awed by beauty despite the deep pessimism that flows through her poems, including the failure of language itself to have any ameliorative effect on human experience.

Surreal, skeptical, and laced with wit, Lipska’s poetry, like that of Milosz and Szymborska, seems to effortlessly achieve a kind of hard-won and gracefully wielded authority that tells us something essential about the legacies of the twentieth century’s horrors.

The most accurate and poetic translation of the world's greatest epic, which is now a film by Academy Award winner Christopher Nolan!

“This may be the best translation of The Odyssey yet."—Edith Hall, The Telegraph

A magnificent feat of translation, hailed by classicists and poets alike as a “momentous achievement”: “thrilling,” “rich and rhythmical,” “superb,” “mesmerizing,” “searingly faithful—yet absolutely original.”
 
With this edition of Homer’s Odyssey, the celebrated author, critic, and classicist Daniel Mendelsohn brings the great epic to vividly poetic new life. Widely known for his essays on classical literature and culture in The New Yorker and many other publications, Mendelsohn gives us a line-for-line rendering of The Odyssey that is both engrossing as poetry and true to its source. Rejecting the streamlining and modernizing approach of many recent translations, he artfully reproduces the epic’s formal qualities—meter, enjambment, alliteration, assonance—and in so doing restores to Homer’s masterwork its archaic grandeur. Mendelsohn’s expansive six-beat line, far closer to the original than that of other recent translations, allows him to capture each of Homer’s dense verses without sacrificing the amplitude and shadings of the original.

The result is the richest, most ample, most precise, and most musical Odyssey in English, conveying the beauty of its poetry, the excitement of its hero’s adventures, and the profundity of its insights. Supported by an extensive introduction and the fullest notes and commentary currently available, Daniel Mendelsohn’s Odyssey is poised to become the authoritative version of this magnificent and enduringly influential masterpiece.

The Prose of the Mountains contains three tales of the Caucasus by Aleksandre Qazbegi, one of the most prescient and gifted chroniclers of the Georgian encounter with colonial modernity. His stories offer an invaluable counterpoint to the predominantly Russian narratives that have hitherto shaped scholarly accounts of the nineteenth-century Caucasus. “Memoirs of a Shepherd” poignantly chronicles the young author’s decision to pass seven years of his life as a shepherd with Georgian mountaineers. “Eliso” (the name of a Chechen girl) offers one of the most searing accounts on record of the forced migration of this people from their homeland to Ottoman lands. Set in the sixteenth century, “Khevis Beri Gocha” (the name of a Georgian village chief) classically chronicles a tragic misunderstanding between a severe father and his loving son.

The latest title in the Central European Medieval Texts series contains the lives of saints who were canonized in the eleventh through thirteenth centuries in the newly Christianized countries of Central and Eastern Europe (Bohemia, Poland, Hungary, and Dalmatia). A rejoinder to the earlier volume in the series, the Saints of the Christianization Age of Central Europe (CEMT, Vol. 6), containing hermits, missionaries, and martyrs, this second volume of hagiography is dominated by political or ecclesiastical leaders who became saintly patrons of their region and were highly venerated throughout the Middle Ages.

The legends in the volume present the two Hungarian holy kings Stephen and Ladislas, the holy duke Emeric, the Czech holy abbot Prokop of Sázava, three bishops, the Venetian-Hungarian Gellért of Csanád, the Polish Stanislas of Cracow (both martyrs), and the Dalmatian holy bishop Saint John of Trogir. Each “vita” is published in Latin original with an English translation and with prefaces discussing the textual tradition.

Saints’ lives have been recognized as an invaluable source of information on social and economic history, the history of mentalities and everyday life, cultural history, and, above all, as a special genre with crucial importance and prevalence in medieval literature.

The Balkans have been so troubled by violence and mis­understanding that we have the verb “balkanize,” mean­ing to break up into smaller, warring components. While some of the region’s artists and thinkers have invari­ably fallen into nationalistic tendencies, the twenty-two prominent authors represented here, from the erstwhile Yugoslavia and its neighbors Albania and Bulgaria, have chosen to attempt to bridge these divides. The essays, biographical sketches, and stories in The Stranger Next Door form a project of understanding that picks up where politics fail. The English-language translation joins edi­tions of the book that appeared concurrently in all of the participating countries.