New Releases by James Dickey

Cuatro amigos, un viaje en canoa y un encuentro mortal. Un paisaje idílico que se transforma en un cementerio y en el que la presa se torna cazador implacable. Un thriller psicológico donde la amistad se pone a prueba y la vida se convierte en una lucha a muerte. Cuatro amigos emprenden un viaje en canoa por las atronadoras corrientes del río Cahulawassee, en el corazón de los remotos bosques de Georgia. Lewis, el cabecilla del grupo, campeón de tiro con arco, es un entusiasta de la vida agreste. Sin embargo, para el resto de sus compañeros el viaje es apenas una excusa para escapar de sus rutinas y una oportunidad, quizá la última, de contemplar el esplendoroso valle antes de que sea inundado y convertido en una presa. Pero la tranquila excursión en canoa se tiñe de sangre cuando se topan con unos lugareños que los atacan brutalmente. Es entonces cuando su apacible aventura se transforma en una pesadilla en la que tendrán que luchar por sus propias vidas, en un juego letal donde el hombre es cazador y presa a la vez, y el salvaje entorno del valle se torna en un cementerio de roca y aguas bravas para aquellos que carecen de la fuerza o la fortuna para sobrevivir. Un prodigioso tour de force narrativo en el que acción y suspense se mezclan de modo magistral. Una novela Ganadora del Prix Médicis étranger en 1971, adaptada a la gran pantalla por John Boorman, con Burt Reynolds y John Voigt como protagonistas. CRÍTICA «Una novela que hará que se te encojan los dedos de los pies... La canoa de Dickey cabalga hasta los límites de la tensión dramática.» —New York Times Book Review «Una pesadilla alucinante que avanza a pura potencia... Hay pocos escritores como Dickey y pocas novelas tan terroríficas como Liberación.» —The Washington Post «Una vez leída, esta novela no se olvidó.» —Newport Daily Press «Un libro honesto que golpea la mente del lector con el aguijón de una pelota de béisbol recién atrapada en la mano.» —The Nation «Un tour de force... Cómo actúa un hombre cuando le disparan una flecha, al escalar un acantilado o al zozobrar, la irónica psicología del miedo: cosas que se transmiten con una notable vivacidad.» —The New Republic

17 turbulente Geschichten – neue Storys von Stephen King und Joe Hill nebst im Deutschen Unveröffentlichtem von Richard Matheson, John Varley u.a., dazu Klassiker von Dan Simmons, Arthur Conan Doyle, Ray Bradbury ... Nichts ist Stephen King ein größerer Gräuel, als fliegen zu müssen. Zusammen mit Mitherausgeber Bev Vincent teilt er nun seine Flugangst mit seinen Lesern. Die Anthologie versammelt alles, was gründlich schiefgehen kann, wenn man sich auf 30.000 Fuß Höhe mit 500 Knoten in einem Metallgefährt (einem Sarg?) durch die Lüfte bewegt. Flugreisen verwandeln sich hier schnell in Albträume, auf die man nie im Leben gekommen wäre. Da überlegt man es sich lieber zweimal, ob der Weg zum Ziel nicht in einer letzten Reise mündet.

For the person who questions life in the world of the twenty-first century and who struggles within themselves, this book named Excelsior sheds new light. More than an extended autobiography, this writing by E. James Dickey provides insight into everyday issues that can be found within the spiritual roots of our lives. In essence, Excelsior transforms life from the negative to the positive in a way that is helpful, meaningful, and joyous!

Death, and the Day''s Light, the volume of poetry James Dickey was working on when he died, offers the writer''s final views on love and death, fathers and sons, and war and resurrection.

This collection includes a foreword by poet Richard Howard, president of the PEN American Center and winner of the Pulitzer Prize for his 1969 collection, Untitled Subjects.

The true key to unlocking the secret of the Bible, according to author E. James Dickey, is found in biography. Some people would approach the Bible from a doctrinal, sacramental, historical, and archaeological point of view. Valid as these ways of understanding this magnificent treasure known as the Bible are, any or all of these measures fall far short of encompassing the whole content of the Bible. The way to embrace the totality of scripture and unlock the mystery therein is through biography, according to the author. No other spiritual or religious documents in the world have this element to it. Instead, dictums, commandments, sayings, maxims and axioms dominate such writings. Valid as they are, the truly human element is missing. Moreover, the relationship with the one, true God and with one another is dictated by those wordsbe they inspired, revealed, or fashioned. So, any relationship tends to become subservient to the statements themselves. Thus, freedom is thwarted and throttled at its very roots. It is true that biography often is somewhat sketchy throughout the scriptures, but enough elements are there to portray a real picture of the people involved. To look at the Bible from the primary relationship with the one, true God of the whole universe and with live human beings is the key to the scriptures. When sincere, it will produce fruits beyond compare.

NEED INSPIRATION? The answer may be found in the labor of love The Amazing Power of The Holy Spirit by E. James Dickey! This power-packed writing promises new insights and inspiration to all who are in need of spiritual sustenance today. It is full of examples, stories, scriptural references, and for the deep thinker, strong theological proclamations. These pages on The Amazing Power of the Holy Spirit promise new insights and inspiration to all who love the written word, especially in relation to the critical need of spirituality today.

Housman, Gerard Manley Hopkins, Robert Frost, Walter de la Mare, and Robert Bridges.

"In The One Voice of James Dickey, Gordon Van Ness skillfully documents James Dickey''s growth from a callow teen interested primarily in sports to a mature poet who possessed literary genius and who deliberately advanced himself and his career. The letters from 1942 through 1969 depict Dickey gradually establishing a self-identity, deciding to write, struggling to determine a subject matter and style, working determinedly to gain initial recognition, and eventually seeking out the literary establishment to promote himself and his views on poetry. The letters also portray a complex personality with broad interests, acute intelligence, and heightened imagination as well as a deep need to re-create his past and assume various roles in the present." "From Dickey''s extensive correspondence, Van Ness has selected not only those letters that best reveal the chronological development of Dickey''s career and his conscious efforts to chart its course, but also those that portray his other interests and depict the various features of his personality. The letters are grouped by decade, with each period placed in perspective by a critical introduction. The introductory sections offer a psychological understanding of Dickey''s personality by identifying the needs and fears that affected his actions. They also explain the American literary and cultural scene that Dickey confronted as he matured. Together, the letters and commentary yield a sense of Dickey''s complex personality - both the man as a writer and the writer as a man - while arguing that he remained "one voice."" "Because how a writer writes - the appearance of a writer''s words on a page - makes a statement, the letters are reproduced here without alterations. There are no silent deletions or revisions; the original spelling and punctuation have been preserved. Dickey''s letters gathered in The One Voice of James Dickey portray a poet''s consciousness, chronicling its growth and revealing its breadth. They do not contain the whole truth, but they are what we have."--Jacket.

Published to coincide with his son Christopher Dickey''s memoir, "Summer of Deliverance, " this collection of poems and prose distill''s James Dickey''s tremendous talent and influence, and sheds light on his remarkable career.

Over 400 letters that are as entertaining as they are erudite, revealing the fierce and complicated intellect of one of the most popular American poets and novelists of the 20th century. Written between 1943 and Dickey''s death in 1997, most of them deal with literature, particularly poetry; the recipients include Robert Penn Warren, Ezra Pound, William Styron, Richard Wilbur, Stanley Burnshaw, Theodore Roethke, James Wright, John Berryman, Andrew Lytle, Denise Levertov, Peter Viereck, Philip Booth, Anne Sexton. Of particular interest are the apprenticeship letters in which the young poet develops contacts and shapes a career; and the late period in which the ailing man of letters confronts his guilt and debilitation as well as various family tragedies.

Although the notebooks identify the influence of writers such as George Barker, Hart Crane, and Dylan Thomas, they primarily present a man endeavoring to chart his own artistic course or destination.

Holograph and typescript copies of 13 versions of the poem "Entering Scott''s night," written for the centenary of F. Scott Fitzgerald''s birth. The drafts have Dickey''s revisions and annotations. The poem was published in the New Yorker, vol. 72, no. 45, p. 47.

The author reveals the paradise of the Southern mountains through the monologue of an old mountain man; colorful photographs display the beauty and wonder of this remote area

A portrait of blind Frank Cahill''s encounter with the truth about the son he has never met, and about himself.

In Self-Interviews, James Dickey speaks thoughtfully and with candor of his life as a poet. He recalls how poetry came to be his career, tracing its growing importance in his life from his youth in Georgia through his years overseas with the Air Force, as a student at Vanderbilt, as a teacher, and as a successful advertising executive. He also tells of how he reworked the life around him into poetry, of the fleeting impressions and lingering thoughts that were the seeds of some of his finest poems, including “Cherrylog Road,” “The Lifeguard,” “The Fiend,” and “Falling.” Following only a rough outline, Dickey recorded these spontaneous monologues in June, 1968, not long after the publication of his Poems, 1957–1967, which collected the work from his first five books. These musings, then, date from what was in many ways a natural vantage point on his artistic development, a moment ripe for recollection and analysis. Dickey uses the occasion not only to look back on his career but also to consider his preferences and goals as a poet. “I would like to be able to write a poetry,” he reveals, “that would have something for every level of mind, something that would be accessible to a child and would also give college professors and professional critics something, maybe something they haven’t had much of recently, or indeed ever.” This book is not so much the autobiography of a poet as it is the biography of a poet’s work. Unique and revealing, Self-Interviews is an intimate profile of a decade in the art of one of America’s finest poets.

James Dickey''s creativity as a poet is well known. But there have been few opportunities for his readers to become familiar with the full dimensions of his mind, with the thoughts and perceptions that lie just outside the matter of his poetry. Sorties brings together the contents of a journal kept by Dickey for several years and six discerning essays on poetry and the creative process. The journal follows Dickey''s mind as it alights on a wide array of topics, ranging from the work of his colleagues to the plotting of a new novel, from the onset of old age to pride over accomplishments in archery and guitar playing. Dickey can be blunt in his opinions, as when he states that "a second-rate writer like Norman Mailer will sit around wondering what on earth it is that Hemingway had that Mailer might possibly be able to get." But the journal also reveals a great capacity for sympathy, as when Dickey tells of his father''s long illness, and a revealing candor--"I am Lewis," he writes of his novel Deliverance, "every word is true." The journal is at its most revealing, however, when Dickey discusses the craft of poetry. "It is good for a poet to remember," he writes, "that the human mind, though in some ways very complicated, is in some others very simple." This awareness that poetry must understand the simplicities of human existence is a recurring concern for Dickey, and he writes with disdain of the "brilliant things" that too often clog poetry, the stale self-absorption that warps the perceptions of many poets. In the essays that make up the second part of the book, Dickey also focuses on poetry, exploring the relation of the poet to his works, the promise of a younger generation of poets, and the place of Theodore Roethke as the greatest American poet. Wide-ranging and acute, Sorties opens up for the reader the discriminating mind that lies behind some of the most accomplished and memorable poetry written in America in this century.