Anastassis Vistonitis. Mara's Shade: Selected Poems, 1971-1995. Translated from the Greek by David Connolly. With an introduction by Christopher Merrill. New World Translation Series, 1. Huntington Beach, CA: Tebot Bach, 2011. x, 114 p.

ISBN 1893670724; 9781893670723

Christopher Merrill, Introduction (pp. ix-x).

From Emigrating (1971-1972): “Letter” (p. 1); “In Wait” (p. 2); “Sunday” (p. 3); “Enfin” (p. 4); “Ars Poetica” (p. 5).

From Scouts (1972-1974): “Illusion” (p. 9); “The Robbers” (pp. 10-11); “Crime on the River” (p. 12); “The Morrow” (p. 13); “Becalmed” (p. 14).

From Alone (Poems to Edgar Allen Poe) (1975): “Alone” (p. 17); “Annabel Lee” (p. 18).

From Ashes (1975-1977): “Shooting Range” (p. 21); “Non Est” (p. 22); “Open the Gates” (p. 23); “Ten Past One” (p. 24); “The Woodcutter’s Vigil” (p. 25); “Four Points” (pp. 26-27); “The Moon in the Glass” (p. 28); “Evening: Cold and Cloudy” (p. 29); “Delirium Tremens” (pp. 30-31).

From Ground (1977-1979): “Dream” (p. 35); “Gaze” (p. 36); “Metaphor” (p. 37); “Reversal” (p. 38); “Wind” (p. 39); “Water and Oil” (pp. 40-41); “Rifle-Range” (p. 42); “Ground, 1” (p. 43); “Ground, 2” (p. 44); “Self-Enslaved” (p. 45).

From Journals (1971-1982): “Now You’re Alone” (p. 49); “Via Egnatia 1958” (pp. 50-52).

Fragmenta (1972-1982): “Night”, “His Eyes”, “River”, “Moon”, “Inside Me I Have”, “The Sea”, “My Fingers” (p. 55); “Trees, Shadows, Moons”, “The Night Is Here, the Wind Is Here”, “All the Trees”, “Times Have Changed”, “To the Bone”, “The Window Opened”, “The Wall” (p. 56); “Yard, Scrap, Iron”, “Friends of Old Came”, “Footsteps”, “Show Me the Way, Then”, “Day Is Breaking”, “Years Since I Was Here”, “He Opened the Fridge” (p. 57); “Dream in the Afternoon”, “Outside the Window” (p. 58).

From Gardens of the Moon (1983-1988): “Garden of the Moon” (pp. 61-63); “1968” (p. 64); “Mara’s Shade” (pp. 65-66); “Eurydice” (pp. 67-68); “Ellis Island” (pp. 69-70); “Biography” (pp. 71-72); “Manhattan 1984” (p. 73); “Old Stories” (pp. 74-75).

From Age (1986): “From the Side of the Sea” (pp. 79-80); “Marriages of the Moon” (pp. 81-83).

Fragmenta (1983-1988): “Perseus’s Eye”, “Cactus Flowers”, “Propellers and Wings”, “The Dirt Track”, “Lesson from the Sun”, “The Light Comes” (p. 87); “The Polar Light”, “Blue Craters”, “Amid the Ruins”, “A Large Parlor”, “The Light Passes”, “In the Dance’s Orchards” (p. 88); “Without the Axis”, “The Iron Creaks”, “Like a Cry”, “Shall I Recall the Sea”, “What Am I Looking For” (p. 89); “The Light of the Stars”, “I Was with You”, “From Afar the Sound”, “Articulate Cosmos”, “No One Comes”, “Yesterday I Saw the Goddess Again” (p. 90); “Where Is Your Black Snout”, “The Lights Go Out”, “Deserted Town”, “The Moon Emerged”, “Your House Is a Hive” (p. 91); “With Eyes Dead”, “Around the Architect’s Light”, “The Fake Metropolises”, “You Die”, “Night’s Falling”, “Raining”, “Here Far Off” (p. 92); “The Blind Eye”, “I Write Looking For”, “How Deep Are the Years?”, “Silence”, “You Don’t Hear”, “I Am a Narrow Passage” (p. 93); “Years of the Persecutor”, “Rags”, “The ‘Instantaneous’ Fallen”, “The Biggest Art Today”, “All Things Round”, “Stars” (p. 94); “All I Care for Now”, “From the Voice to the Word”, “We Said a Lot” (p. 95).

From Terra Incognita (1989-1995): “Dark Summer” (pp. 98-100); “After the Battle” (pp. 101-102); “Medea” (pp. 103-105); “Return I” (pp. 106-107); “Waves of the Black Sea” (pp. 108-109).

From The Faces of Janus (1995): “I-X” (pp. 113-114).