Reading it is like listening to the silence in the public squares painted by Giorgio de Chirico. Like Chirico, Jahnn is a master of the eerie and the inexplicable. It would be presumptuous to explain the fable contained in these pages; its meaning will differ from reader to reader. Yet it is obvious that the author intended us to know that our hold on reality is at best a treacherous delusion. When Gustav bent down to retrieve the suitcase he had so thoughtlessly kicked under the berth, he found that where a wall should have been there was no wall but only infinite space. Since this three-masted ship had been designed by a competent Scot, Gustav was puzzled. But he had only begun to be bewildered. Locked doors sprang open at the touch of an invisible hand, and the supercargo was unwilling to dispel anxiety with an answer. With microphones placed at strategic points throughout the ship, the supercargo spied on everyone, angrily insisting that no member of the crew should attempt to fathom the nature of the cargo.When Gustav's fiancee vanished, Gustav acted less like a hero than a victim of a nightmare. The Ship itself is a nightmare, contrived by a writer with an iron will.

    University of Illinois Professor David P. Boder travels with a relatively new tape recorder to interview and capture the stories of some displaced persons he encountered in post-war Europe. This is a collection of only eight of those interviews with displaced persons that Boder recorded and transcribed, giving first-hand experiences of eight individuals during the war and often their experiences in various concentration camps.

    Decorated for bravery in World War I and the author of the acclaimed memoir from the western front, Storm of Steel, he frankly depicted the war’s horrors even as he extolled its glories. As a Wehrmacht captain during the Second World War, Jünger faithfully kept a journal in occupied Paris and continued to write on the eastern front and in Germany until its defeat—writings that are of major historical and literary significance.Jünger’s Paris journals document his Francophile excitement, romantic affairs, and fascination with botany and entomology, alongside mystical and religious ruminations and trenchant observations on the occupation and the politics of collaboration. Working as a mail censor, he led the privileged life of an officer, encountering artists such as Céline, Cocteau, Braque, and Picasso. His notes from the Caucasus depict chaos and misery after the defeat at Stalingrad, as well as candid comments about the atrocities on the eastern front. Returning to Paris, Jünger observed resistance and was peripherally involved in the 1944 conspiracy to assassinate Hitler. After fleeing France, he reunited with his family as Germany’s capitulation approached. Both participant and commentator, close to the horrors of history but often hovering above them, Jünger turned his life and experiences into a work of art. These wartime journals appear here in English for the first time, giving us fresh insight into the quandaries of the twentieth century from the keen pen of a paradoxical observer.Ernst Jünger (1895–1998) was a major figure in twentieth-century German literature and intellectual life. He was a young leader of right-wing nationalism in the Weimar Republic, but although the Nazis tried to court him, Jünger steadfastly kept his distance from their politics. Among his works is On the Marble Cliffs, a rare anti-Nazi novel written under the Third Reich.

    In their correspondence, set against a shifting backdrop of locations in Europe and America, mundane concerns blend easily with astonishing artistic and critical insights. That these irrepressible siblings were among the giants of twentieth-century letters gives their exchanges unique literary and historical fascination.Beginning in Germany and Italy at the turn of the century, the letters document with disarming immediacy the brothers' views on aesthetics, politics, and the social responsibility of the writer, as well as their mutual jealousy, admiration, rivalry, and loyalty. The devastating rift caused by Thomas's support of Germany during World War I and his brother's utter opposition to the war took many years to mend, but they found their way back to friendship in the 1920s. After Hitler rose to power, both writers ultimately sought refuge in the United States. The letters offer a moving portrayal of their struggle, as novelists and socially engaged intellectuals, to bear witness to the cataclysmic historical changes around them and to their experience of exile, in Europe and then in America. This first complete English translation of their correspondence is a dramatic human dialogue and a major literary event.