Written by the leading international expert on French wine, The Wines of Bordeaux is the authoritative guide to one of the most important and complex wine regions in the world. Sumptuously produced, with a wealth of color illustrations and stunning line drawings, this book covers all the vineyards of Bordeaux—from the largest and most famous châteaux to the smallest farmsteads. Bordeaux is known for the quality, quantity, and variety of its wine. It produces twenty-five percent of the appellation contrôlée harvest in France—a great deal more than the Beaujolais, Burgundy, Alsace, Loire, or Rhône regions. It also produces all of the three main types of wine: red, dry white, and sweet white. Updating and augmenting Clive Coates's classic Grands Vins, this book shows that many of Bordeaux's wines are not only superlative but also affordable. Thirty-five years of traveling around the French vineyards has given Coates an encyclopedic knowledge of France and its wines. His love and respect for French wines is apparent as he imparts detailed information on the best vintages, tasting notes of the top wines, and up-to-the-minute advice for selecting best value wines. With clear wine descriptions that are accessible to both the uninitiated and the connoisseur, The Wines of Bordeaux increases the pleasure of traveling to this remarkable region and of selecting and enjoying its splendid wines.

The Wines of Bordeaux: Vintages and Tasting Notes 1952-2003

Cookbooks, Food & Wine

Howe, Susan

Coates, Clive

Beverages & Wine

University of California Press

A poetic re-piecing of history.The Nonconformist's Memorial is a gathering of four long sequences that underscores Susan Howe's reputation as one of the leading experimentalists writing today. How is a poet of language in history whose work resonates back through Melville, Dickinson, and Shelley to the seventeenth-century Metaphysicals and Puritans (the nonconformism of the title), and forward again to T. S. Eliot and the abstract expressionists. The sequences fall into two sections, "Turning" and "Conversion," in half-ironic nonconforming counterpart to Eliot's Four Quartets. Her collaging and mirror-imaging of words are concretions of verbal static, visual meditations on what can and cannot be said. For Howe, "Melville's Marginalia" is the essential poem in the collection, an approach to an elusive and allusive mind through Melville's own reading and the notations in his library books. This, says Howe, is "Language a wood for thought."

The Nonconformist's Memorial: Poems (New Directions Paperbook, 755)

Literature & Fiction

Poetry

New Directions

In Frame Structures, Susan Howe brings together those of her earliest poems she wishes to remain in print, and in the forms in which she cares to have them last.
Gathered here are versions of Hinge Picture (1974), Chanting at the Crystal Sea (1975), Cabbage Gardens (1979), and Secret History of the Dividing Line (1978) that differ in some respects from their original small-press editions. In a long preface, "Frame Structures," written especially for this volume, Howe suggests the autobiographical, familial, literary, and historical motifs that suffuse these early works. Taken together, the preface and poems reflect her rediscovered sense of her own beginnings as a poet, her movement from the visual arts into the iconography of the written word.
Susan Howe is a professor of English at the State University of New York―Buffalo. Most of her later poetry has been collected in The Nonconformist's Memorial (New Directions, 1993), The Europe of Trusts: Selected Poems (Sun &amp; Moon Press, 1990), and Singularities (Wesleyan University Press, 1990). She is also the author of two landmark books of postmodernist criticism, The Birth-mark: unsettling the wilderness in American literary history (Wesleyan University Press, 1993) and My Emily Dickinson (North Atlantic Books, 1985).

Frame Structures: Early Poems 1974-1979 (Enduring Questions in American)

Pierce-Arrow takes as its shooting off point the figure of Charles S. Peirce, the allusive late nineteenth-century philosopher-scientist and founder of pragmatism, a man always on the periphery of the academic and social establishments yet intimately conjoined with them by birth and upbringing.Pierce-Arrow, Susan Howe’s newest book of poems, takes as its point of departure the figure of Charles S. Peirce, the allusive nineteenth-century philosopher-scientist and founder of pragmatism, a man always on the periphery of the academic and social establishment yet intimately conjoined with them by birth and upbringing. Through Peirce and his wife Juliette, a lady of shadowy antecedents, Howe creates an intriguing nexus that explores the darker, melancholy sides of the fin-de-siecle Anglo-American intelligentsia. George Meredith and his wife Mary Ellen, Swinburne and his companion Theodore Watts-Dunton, are among those who also find a place in the three long poem-sequences that comprise the book. Howe’s historical linkings, resonant with the sorrows of love and loss and the tragedies of war, create a compelling canvas of associations. “It’s the blanks and gaps,” she says, “that to me actually represent what poetry is―the connections between seemingly unconnected things―as if there is a place and might be a map to thought, when we know there is not.”

Pierce-Arrow

The Europe of Trusts contains three brilliant, landmark books which Susan Howe first published in the early 1980s: The Liberties, Pythagorean Silence, and Defenestration of Prague. These are the books -- following her volumes from the previous decade (Hinge Picture, Chanting at the Crystal Sea, Cabbage Gardens, and Secret History of the Dividing Line) -- which established Howe as one of America's most interesting and important contemporary writers. "Her work, " as Geoffrey O'Brien put it, "is a voyage of reconnaissance in language, a sounding out of ancient hiding places, and it is a voyage full of risk. 'Words are the only clues we have, ' she has said. 'What if they fail us?'"

The Europe of Trusts: Poetry

New poetry and prose from a most acclaimed experimental American poet. In The Midnight's amply illustrated five sections, three of poetry and two of prose, we find―swirling around the poet's mother―ghosts, family photographs, whispers, interjections, bed hangings, unfinished lace, the fly-leaves of old books, The Master of Ballantrae, the Yeats brothers, Emily Dickinson, Lewis Carroll, Lady Macbeth, Thomas Sheridan, Michael Drayton, Frederick Law Olmsted: a restless brood confronting, absorbing, and refracting history and language. With shades of wit, insomnia, and terror, The Midnight becomes a kind of dialogue in which the prose and poetry sections seem to be dreaming fitfully of each other.

The Midnight

United States

For Wallace Stevens, "Poetry is the scholar's art." Susan Howe―taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides―embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood―a Loaded Gun," Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."

My Emily Dickinson

Biographies & Memoirs

Souls of the Labadie Tract finds Susan Howe exploring (or unsettling) one of her favorite domains, the psychic past of America. This time the presiding tutelary geniuses are Jonathan Edwards and Wallace Stevens. 
Souls of the Labadie Tract finds Susan Howe exploring (or unsettling) one of her favorite domains, the psychic past of America, with Jonathan Edwards and Wallace Stevens as her presiding tutelary geniuses. Three long poems interspersed with prose pieces, Souls of the Labadie Tract takes as its starting point the Labadists, a Utopian Quietest sect that moved from the Netherlands to Cecil County, Maryland, in 1684. The community dissolved in 1722. In Souls, Howe is lured by archives and libraries, with their ghosts, cranks, manuscripts and scraps of material. One thread winding through Souls is silken: from the epigraphs of Edwards ("the silkworm is a remarkable type of Christ...") and of Stevens ("the poet makes silk dresses out of worms") to the mulberry tree (food of the silkworms) and the fragment of a wedding dress that ends the book. Souls of the Labadie Tract presents Howe with her signature hybrids of poetry and prose, of evocation and refraction:
 There it is there it is―you want the great wicked city Oh I wouldn't I wouldn't It's not only that you're not It's what wills and will not.

Souls of the Labadie Tract (NEW DIRECTIONS)

Susan Howe’s newest book of poetry is a revelation as well as a mystery. "What treasures of knowledge we cluster around." That This is a collection in three pieces. "Disappearance Approach," an essay about Howe's husband's sudden death―"land of darkness or darkness itself you shadow mouth"―begins the book with paintings by Poussin, an autopsy, Sarah Edwards and her sister-in-law Hannah, phantoms, and elusive remnants. "Frolic Architecture," the second section―inspired by visits to the vast 18th-century Jonathan Edwards archives at the Beinecke and accompanied by six photograms by James Welling―presents hauntingly lovely, oblique type-collages of Hannah Edwards Wetmore's diary entries that Howe (with scissors, "invisible" Scotch Tape, and a Canon copier) has twisted, flattened, and snipped into inscapes of force. The final section, "That This," delivers beautiful short squares of verse that might look at home in a hymnal, with their orderly appearance packing startling power: That this book is a history of a shadow that is a shadow of Me mystically one in another another another to subserve. Six black-and-white photographs

That This (New Directions Books)

Part of our revived "Poetry Pamphlet Series", Sorting Facts is Susan Howe’s masterful meditation on the filmmaker Chris Marker, whose film stills are interspersed throughout.
An excerpt:
Sorting word-facts I only know an apparition. Scribble grammar has no neighbor. In the name of reason I need to record something because I am a survivor in this ocean.

Sorting Facts, or Nineteen Ways of Looking at Marker (New Directions Poetry Pamphlets)

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