Any new book by poet, essayist, writer, and translator Hans Magnus Enzensberger, one of the most influential and internationally renowned German intellectuals, is cause for notice, and Mr. Zedâ¿s Reflections is no exception. Every afternoon for almost a year, a plump man named Mr. Zed comes to the same spot in the city park and engages passersby with quick-witted repartee. Those who pass ask, who is this man? A wisecracker, a clown, a belligerent philosopher? Many shake their heads and move on; others listen to him, engage with him, and, again and again, end up at the same place. He doesnâ¿t write anything down, but his listeners often take notes. With subversive energy and masterful brevity, Mr. Zed undermines arrogance, megalomania, and false authority. A determined speaker who doesnâ¿t care for ambitions, he forces topics that others would rather keep to themselves. Reluctant to trust institutions and seeing absolutely nothing as ânon-negotiable,â? he admits mistakes and does away with judgment. He is no mere ventriloquist dummy for his creatorâ¿he is too stubborn for that. And at the end of the season, when it becomes too cold and uncomfortable in the park, he disappears, never to be seen again. Collected in this thought-provoking and unique work are the considerations and provocations of this squat, park-bench philosopher, giving us a volume of truths and conversations that are clear-cut, skeptical, and fiercely illuminating.
Poetically written and originally given as lectures, this is a moving essay collection from Durs Grÿnbein. In his four Lord Weidenfeld Lectures held in Oxford in 2019, German poet Durs Grÿnbein dealt with a topic that has occupied his mind ever since he began to perceive his own position within the past of his nation, his linguistic community, and his family: How is it possible that history can determine the individual poetic imagination and segregate it into private niches? Shouldnâ¿t poetry look at the world with its own sovereign eyes instead?  In the form of a collage or âphotosynthesis,â? in image and text, Grÿnbein lets the fundamental opposition between poetic license and almost overwhelming bondage to history appear in an exemplary way. From the seeming trifle of a stamp with the portrait of Adolf Hitler, he moves through the phenomenon of the âFÿhrerâ¿s streetsâ? and into the inferno of aerial warfare. In the end, Grÿnbein argues that we are faced with the powerlessness of writing and the realization, valid to this day, that comes from confronting history. As he muses, âThere is something beyond literature that questions all writing.â?
A fire broke out in the coal seams of their town years ago, and the flames are still smoldering underground. Margaret and Fritzi are the two sisters who are the last remaining youth of this vanishing town. Their inheritance is nothing but an abandoned swathe of land ruled by devastation.
One night in the middle of winter, as deep snow covers the mountains and forests of Austria, a doctor is crossing a ridge from Traich to Foding to see a patient. He stumbles over a body in the darkness and fears it is a corpse. But it's not a corpse at all - in fact, it's wooden-legged Victor Halfwit, collapsed, but still very much alive.
The Austrian playwright, novelist, and poet Thomas Bernhard (1931-89) is acknowledged as one of the major writers of our time. This collection includes seven stories that capture Bernhard's distinct darkly comic voice and vision - often compared to Kafka and Musil - commenting on a corrupted world.
A decaying apartment building in post-Wall Berlin is home to Hell, a young woman with a passion for martial arts. When Hell's neighbor disappears she sets out across the city in search of her. In the course of her quest, she falls in love with a bank robber, confronts her own dark memories, and ends up saving more than just her missing neighbor.
A monologue delivered by the female character in Samuel Beckett's play Krapp's Last Tape.
An account of the life and death of Buenaventura Durruti, a Spanish Civil War leader, that turns his life into a larger story of revolution, commitment, and failed struggles for freedom.
A unique and modern approach to money, wealth, greed, and financial ignorance presented via a story of a family in the Munich suburbs. The Federmanns live a pleasant but painfully normal life in the Munich suburbs. All that the three children really know about money is that thereâ¿s never enough of it in their family.  Every so often, their impish Great-Aunt Fé descends on the city. After repeated cycles of boom and bust, profligacy and poverty, the grand old lady has become enormously wealthy and lives alone in a villa on the shore of Lake Geneva. But what does Great-Aunt Fé want from the Federmanns, her only surviving relatives? This time, she invites the children to tea at her luxury hotel where she spoils, flummoxes, and inspires them. Dismayed at their ignorance of the financial ways of the world, she gives them a crash course in economics that piques their curiosity, unsettles their parents, and throws open a whole new world. The young Federmanns are for once taken seriously and together they try to answer burning questions: Where does money come from? Why are millionaires and billionaires never satisfied? And why are those with the most always showered with more?  In this rich volume, the renowned poet, translator, and essayist Hans Magnus Enzensberger turns his gimlet eye on the mechanisms and machinations of banks and politiciansâ¿the human greed, envy, and fear that fuels the global economy. A modern, but moral-less fable, Money, Money, Money! is shot through with Enzensbergerâ¿s trademark erudition, wit, and humanist desire to cut through jargon and forearm his readers against obscurantism. Â
Drawn from the author's experiences as a political prisoner and as a refugee, this novel features Rasul Hamid who describes the eight different ways he fled his home in Iraq and the eight different ways he has failed to find a way home. It is a literary looking glass between two cultures, between two places, and between East and West.
Originally published as Der fliegende Berg, S. Fischer Verlag GmbH, Frankfurt am Main, 2006.
A diary-like sequence of poems from one of Austria's best-known contemporary voices. Exploring longing, lust for life, aging, mortality, grief, and flowers in her inimitable late style, études is a diary-like sequence of poems by one of the greatest living Austrian poets. Friederike Mayröcker's almost daily entries give us a unique view into the interplay between desire and her motivation for writing. In Mayröcker's case, she writes both to keep a vanished world present and to exploit the possibilities of being present for constant experimentation. The poems in this volume are not only studies of how the mind works, moving from fragment to fragment, but also experiments with techniques of repetition, typography, collage, and quotation. Mayröcker transforms the humble page into spaces of radical openness. After all, she says, a poem is that which "opens everything up." Each poem is date-stamped, and each date acts as a kind of permission for Mayröcker to pour in everything from notes on doctor's visits to gorgeously structured elegies to obsessively repeating fragments of memory that act upon the whole like bits of recurring melody. Rarely before has the intimate process of writing been so exquisitely laid bare than in études. Traversing the boundaries of literary forms with Mayröcker's distinctive style, this important volume strikes an admirable balance between playfulness and serious inquiry.
Thousands upon thousands of books have been written about Immanuel Kant since his death. None, let's be clear, have been quite like what we have here. In Party Fun with Kant, Nicolas Mahler tells the story of Kant--and his fellow serious-minded figures from the history of philosophy--with a comic edge. With his witty visual style and clever wordplay, he delves into their lives and emerges with hitherto unknown scenes that show them in a new (and far less serious) light. We go to parties with Kant, visit an art exhibition with Hegel, shop at the supermarket with Nietzsche, and go to the cinema with Deleuze, and celebrate the dream wedding with de Beauvoir. In each case, we come away knowing more about the life, thoughts, and feelings of the philosopher--getting to know them as people rather than as stony-faced figures long since robbed of any existence beyond their ideas. The result is pure fun, but with plenty of insight, too.
For much of her career, Elfriede Jelinek has been maligned in the press for both her unrelenting critique of Austrian complicity in the Holocaust and her provocative deconstructions of pornography. Despite this, her central role in shaping contemporary literature was finally recognized in 2004 with the award of the Nobel Prize in Literature. Although she is an internationally recognized playwright, Jelinek's plays are difficult to find in English, which makes this new volume, which includes "Rechnitz: The Exterminating Angel," "The Merchant's Contracts" and "Charges (The Supplicants)" all the more valuable. In "Rechnitz," a chorus of messengers reports on the circumstances of the massacre of 180 Jews, an actual historical event that took place near the Austrian/Hungarian border town of Rechnitz. In "The Merchant's Contracts," Jelinek brings us a comedy of economics, where the babble and media spin of spectators leave small investors alienated and bearing the brunt of the economic crisis. In "Charges (The Supplicants)," Jelinek offers a powerful analysis of the plight of refugees, from ancient times to the present. She responds to the immeasurable suffering among those fleeing death, destruction, and political suppression in their home countries and, drawing on sources as widely separated in time and intent as up-to-the-minute blog postings and Aeschylus's "The Supplicants," Jelinek asks what refugees want, how we as a society view them, and what political, moral, and personal obligations they impose on us.
Richly imagined and recounted in vivid prose of extraordinary beauty, this book is a stunning illustration of Ransmayrâ¿s talent for imbuing a captivating tale with intense metaphorical, indeed metaphysical force. The worldâ¿s most powerful man, Qiánlóng, emperor of China, invites the famous eighteenth-century clockmaker Alister Cox to his court in Beijing. There, in the heart of the Forbidden City, the Englishman and his assistants are to build machines that mark the passing of time as a child or a condemned man might experience it and that capture the many shades of happiness, suffering, love, and loss that come with that passing. Mystified by the rituals of a rigidly hierarchical society dominated by an unimaginably wealthy, god-like ruler, Cox musters all his expertise and ingenuity to satisfy the emperorâ¿s desires. Finally, Qiánlóng, also known by the moniker Lord of Time, requests the construction of a clock capable of measuring eternityâ¿a perpetuum mobile. Seizing this chance to realize a long-held dream and honor the memory of his late beloved daughter, yet conscious of the impossibility of his task, Cox sets to work. As the court is suspended in a never-ending summer, festering with evil gossip about the monster these foreigners are creating, the Englishmen wonder if they will ever escape from their gilded cage. More than a meeting of two men, one isolated by power, the other by grief, this is an exploration of mortality and a virtuoso demonstration that storytelling alone can truly conquer time. Â
A book about bitter fatesâ¿both already known and yet to unfoldâ¿and the many kinds of organized machinery built to destroy people. Alexander Klugeâ¿s work has long grappled with the Third Reich and its aftermath, and the extermination of the Jews forms its gravitational center. Kluge is forever reminding us to keep our present catastrophes in perspectiveâ¿âcalibratedâ?â¿against this historical monstrosity. Klugeâ¿s newest work is a book about bitter fates, both already known and yet to unfold. Above all, it is about the many kinds of organized machinery built to destroy people. These forty-eight stories of justice and injustice are dedicated to the memory of Fritz Bauer, a determined fighter for justice and district attorney of Hesse during the Auschwitz Trials. âThe moment they come into existence, monstrous crimes have a unique ability,â? Bauer once said, âto ensure their own repetition.â? Kluge takes heed, and in these pages reminds us of the importance of keeping our powers of observation and memory razor sharp. Â
Reinhard Jirgl's strikingly individual novel The Fire Above, the Mountain Below demonstrates that he is not only unorthodox in his approach to language, but also difficult to pin down in terms of any genre. Weaving together elements of crime story, Cold War espionage, family tragedy, and a dystopian future, he creates a tapestry of fragile humanity and menacing inhumanity. The investigation of a series of gruesome killings takes a detective inspector into explorations of a secret intelligence programme in former East Germany and the role of a family with a tragic history. The more is uncovered, the more disorienting it becomes, and the reader is drawn into a complex web of discovery and suppression.
When Kurt Weber inherits his great-uncleâ¿s lakeside house, he finds traces of the dark secrets of his familyâ¿s past. The early inhabitants of the house haunt his dreams nightly. And one day a ghostlike woman appears before him, hiding herself in a room that had been kept locked throughout his childhood. Inside, Kurt finds a hidden stash of photographs, letters, and documents. As he deciphers them, he gradually understands the degree of complicity in wartime horrors by his family and among his neighbors. As the story unfolds, it becomes clear that the entire village adheres to an old and widely understood agreement not to expose the many members in the community who had been involved with a nearby prison camp during World War II. This knowledge wraps the entire communityâ¿those involved, and those who know of the involvementâ¿in inescapable guilt for generations. Translated from the original German by Tess Lewis, Ludwigâ¿s Room is a story of love, betrayal, honor, and cowardice, as well as the burden of history and the moral demands of the present.
Almost twenty years after the fall of the wall, the Kreuzberg district of Berlin has become unbearably trendy and deeply unappealing to Alina and Wolf. They move to Muggelsee, at the city's bucolic border. But there, Wolf finds himself increasingly strained by the triviality of his daily routine with Alina.
The author was arguably the best-known and most influential writer in the former East Germany. In this title, she revisits her stay at a tuberculosis hospital in the winter of 1946, a real-life event that was the inspiration for the closing scenes of her 1976 novel Patterns of Childhood.
"The essay ... is based on a speech, given at the Lyrik Kabinett in Munich in October 2017"--Title page verso.
Paul Celan (1920-70) is one of the best-known German poets of the Holocaust. Austrian writer Ingeborg Bachmann (1926-73) is recognized as one of post - World War II German literature's most important novelists, poets, and playwrights. This title collects their letters written between 1948 and 1961.
In Eulogy for the Living, Wolf recalls with crystalline precision the everyday details of her life as a middle-class grocer's daughter, and the struggles within the family--struggles common to most families, but exacerbated by the rise of Nazism.
A series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria.
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