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Lucien Stryk has been a presence in American letters for almost fifty years. Those who know his poetry well will find this collection particularly gratifying. Like journeying again to places visited long ago, Stryk’s writing is both familiar and wonderfully fresh.

For those just becoming acquainted with Stryk’s work, Zen, Poetry, the Art of Lucien Stryk makes an excellent introduction. It includes his early essay, “The American Scene Versus the International Scene,” written shortly after his service in the Pacific during World War II, and “Digging In,” his first published poem, as well as some of his best-known pieces on Zen and Zen poetry. Among the latter are “Beginnings, Ends,” “Poetry and Zen,” “I Fear Nothing: A Note on the Zen Poetry of Death,” and his introduction to the great haiku poets, Issa and Basho. Selections of his most recent work include “The Red Rug: An Introduction to Poetry,” and an imagined conversation among all four leading haiku poets called “Meeting at Hagi-no-Tera.”

Porterfield’s informative collection includes essays about Stryk’s work as well as his own prose and poetry. As the volume makes clear, writing poetry is for Lucien Stryk a sacred act. It is both escape and communion, inseparable from life’s daily activities.

One of the best-known novels by prolific Romanian avant-garde writer Gelu Naum, Zenobia is the evocation of the singular quest of a Surrealist knight-errant who strives to be true to the gentle demands of his lady in a landscape of snares, desolation, incipient madness, and material poverty magically interrupted by moments of extreme beauty.

His wife, artist Lyggia Naum, was the inspiration for the title character. In this 1985 masterpiece, penned in the twilight of the totalitarian regime of Nicolae Ceausescu, love, in all its intimate, carnal communion, lights the path through the dark forest, the streets of Bucharest, and the desert swamps. The narrator, speaking from the depths of love and despair, invites the reader to share his quest. Highly praised now and then, Zenobia is an enduring avant-garde classic of twentieth-century Eastern European literature.

Late one evening in the summer of 2003, Erec Toso arrived home to his wife and children after an ordinary day at his university office. In the darkness of his yard, a rattlesnake lay along the path, basking in the post-monsoon coolness. Toso, lost in thought, never saw the snake, which struck him on the foot and injected a huge dose of venom.

Zero at the Bone is a deeply personal narrative about Toso’s physical recovery and emotional transformation following this near-death experience. In elegant prose that inspires as much as it unsettles, Toso takes the reader along with him on his expedition into the uncharted territory of cellular damage, hallucination, and ultimately profound spiritual awakening. On all levels, it is a book about pain. Toso spares no detail in his accounts of agonizing hospital procedures, in his revelations about rattlesnake lore, or in his descriptions of the wide-ranging effects of snake venom. But quickly the reader realizes that the physical pain of the snakebite is only the more tangible marker of the psychological pain and turmoil that Toso endures in the emotional journey that ensues.

In the months that follow his terrifying attack, priorities, daily habits, family relations, and definitions of self all come into question. What is predictable becomes problematic; what is comfortable becomes disconcerting. In a story that hinges on a common fear about an unlikely event—that of a snakebite—Toso uncovers a more widespread reality that many of us do not fear enough—complacency.

Though she died penniless and forgotten, Zora Neale Hurston is now recognized as a major figure in African American literature. Best known for her 1937 novel Their Eyes Were Watching God, she also published numerous short stories and essays, three other novels, and two books on black folklore.

            Even avid readers of Hurston’s prose, however, may be surprised to know that she was also a serious and ambitious playwright throughout her career. Although several of her plays were produced during her lifetime—and some to public acclaim—they have languished in obscurity for years. Even now, most critics and historians gloss over these texts, treating them as supplementary material for understanding her novels. Yet, Hurston’s dramatic works stand on their own merits and independently of her fiction.

            Now, eleven of these forgotten dramatic writings are being published together for the first time in this carefully edited and annotated volume. Filled with lively characters, vibrant images of rural and city life, biblical and folk tales, voodoo, and, most importantly, the blues, readers will discover a “real Negro theater” that embraces all the richness of black life.