Baron Munchausen's astounding feats included riding cannonballs, traveling to the Moon, and pulling himself out of a bog by his own hair. Listeners delighted in hearing about these unlikely adventures, and in 1785, the stories were collected and published as Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia. By the nineteenth century, the tales had undergone expansions and transformations by several notable authors and had been translated into many languages.A figure as colorful as the Baron naturally appeals to the artistic imagination, and he has been depicted in numerous works of art. His definitive visual image, however, belongs to Gustave Doré. Famed for his engravings of scenes from the Bible, the Divine Comedy, Don Quixote, and other literary classics, Doré created theatrical illustrations of the Baron's escapades that perfectly re-create the stories' picaresque humor.

    The unthinkable has happened: in the fifth round of the World Championship the renowned defending champion, Emanuel Lasker, has made an elementary error and lost a match. The little-known Austrian challenger, Carl Haffner, stands in the limelight, the title within his grasp.Haffner is a shy and fragile man, brought up in extreme poverty, from which his only escape is his exceptional gift for chess. His is a game shaped by the harsh experiences he has undergone. He has an obsessive fear of defeat, and his tactics and overall strategy are based on the sheer artistry of defence. But this confrontation with Lasker is not merely a clash between rook and knight; it is a collision between two men with vastly differing attitudes to life: the wealthy, worldly, self-confident champion on the one hand, the lonely, idealistic and penniless Haffner on the other.Carl Haffner is modelled on the Austrian grandmaster Karl Schlechter, and in his brilliant first novel Thomas Glavinic brings to life both the events surrounding the ten-match world championship and the atmosphere of the cafés and chess clubs of Vienna and Berlin in the years before the First World War. With mature insight, he analyses the reasons for Haffner's view of the world, a world that is thrown into further confusion by the appearance of the fascinating and beautiful Anna.

    In it author Unica Zurn traces the roots of her obsessions: The exotic father she idealized, the "impure" mother she detested, the masochistic fantasies and onanistic rituals which she said described "the erotic life of a little girl based on my own childhood." Dark Spring is the story of a young girl's simultaneous introduction to sexuality and mental illness, revealing a different aspect of the "mad love" so romanticized by the (predominantly male) Surrealists. Unica Zurn (1916-1970) emigrated in 1953 from her native Berlin to Paris in order to live with the artist Hans Bellmer. There she exhibited drawings as a member of the Surrealist group and collaborated with Bellmer on a series of notorious photographs of her nude torso bound with string. In 1957, a fateful encounter with the poet and painter Henri Michaux led to the first of what would become a series of mental crises, some of which she documented in her writings. She committed suicide in 1970--an act foretold in this, her last completed work.

    It provides a vivid, poignant picture of life in Germany just before Hitler's takeover and focuses on a young married couple struggling to survive in the country's nightmarish inflation.

    Written in 1946 in answer to the gossip and defamation that plagued his remarkable career, it tells how Reich watched, at first naively, then with amazement, and finally with horror, at what the Little Man does to himself; how he suffers and rebels; how he esteems his enemies and murders his friends; how, wherever he gains power as a "representative of the people," he misuses this power and makes it crueler than the power it has supplanted.Reich has us to look honestly at ourselves and to assume responsibility for our lives and for the great untapped potential that lies in the depth of human nature.

    It's 1915 so naturally he volunteers for war. In France he is assigned an administrative position in a small town and has a marvellous time. But when he gets to the trenches, where death and mindless destruction are the everyday, he starts to understand something about war. Funny, brutal and charming, here’s the First World War from the perspective of the inimitable Schlump.

    While Gottfried adheres faithfully to the events as set down by Thomas, his chosen source, he is correct over questions of Chrisianity and religion, but no more.In fact his persona as narrator is oddly elusive and engaging. A virtuoso stylist, adept in irony and wit, he is subtle and almost unmedieval in putting across his own impressions of a love that transcends the bounds advocated by Church or society.

    It is the story of an ignorant Castillian peasant and multiple murderer, and it tells of the savage impulses behind his crimes and his redeeming characteristics.

    But his son—the narrator of this slim, harrowing novel—is curious about Walter’s experiences during World War II, and so makes him a present of a blank notebook in which to write down his memories. Walter dies, however, leaving nothing but the barest skeleton of a story on those pages, leading his son to fill in the gaps himself, rightly or wrongly, with what he can piece together of his father’s early life.This, then, is the story of Walter and his dangerously outspoken friend Friedrich Caroli, seventeen-year-old trainee milkers on a dairy farm in northern Germany who are tricked into volunteering for the army during the spring of 1945: the last, and in many ways the worst, months of the war. The men are driven to the point of madness by what they experience, and when Friedrich finally deserts his post, Walter is forced to do the unthinkable.

    At the war’s end, Frankfurt was a smoldering ruin, severely damaged by the Allied bombings. But that was two decades ago. Now it is 1963, and the city’s streets, once cratered are smooth and paved. Shiny new stores replace scorched rubble. Eager for her wealthy suitor, Jürgen Schoormann, to propose, Eva dreams of starting a new life away from her parents and sister. But Eva’s plans are turned upside down when a fiery investigator, David Miller, hires her as a translator for a war crimes trial.As she becomes more deeply involved in the Frankfurt Trials, Eva begins to question her family’s silence on the war and her future. Why do her parents refuse to talk about what happened? What are they hiding? Does she really love Jürgen and will she be happy as a housewife? Though it means going against the wishes of her family and her lover, Eva, propelled by her own conscience , joins a team of fiery prosecutors determined to bring the Nazis to justice—a decision that will help change the present and the past of her nation.

    Headmaster Himmler enters the classroom, apparently to observe the students' progress. However, he soon takes over the lesson himself.

    Sascha was born in Moscow, but now lives in Berlin with her two younger siblings and, until recently, her mother. She is precocious, independent, street-wise, and, since her stepfather murdered her mother several months ago, an orphan. Unlike most of her companions, she doesn’t dream of escaping from the tough housing project where they live. Sascha’s dreams are different: she longs to write a novel about her beautiful but naïve mother and she wants to end the life of Vadim, the man who brutally murdered her. Sascha’s story, as touching as any in recent literature, is that of a young woman consumed by two competing impulses, one celebrative and redemptive, the other murderous. In a voice that is candid and self-confident, at times childlike and at others all too mature, Sascha relates the universal and timeless struggle between those forces that can destroy us, and those that lead us back from sorrow and pain to life itself. Germany’s Freundin Magazine called Broken Glass Park “a gripping portrayal of life on the margins of society.” But Sascha’s story does not remain on the margins; it goes straight to the heart of what it means to be young, alive, and conscious in these first decades of the new century.

    It is the answer he gave his wife (now ex-wife) years earlier when she told him she wanted one. The loss, longing and regret that haunt the years between those two “no”s give rise to one of the most eloquent meditations ever written on the Holocaust. As Kertesz’s narrator addresses the child he couldn’t bear to bring into the world he ushers readers into the labyrinth of his consciousness, dramatizing the paradoxes attendant on surviving the catastrophe of Auschwitz. Kaddish for the Unborn Child is a work of staggering power, lit by flashes of perverse wit and fueled by the energy of its wholly original voice. Translated by Tim Wilkinson

    Without a word, Katalin leaves her family and sets out for the West. Her husband, Kalman, abandons the family farm and begins a long and circuitous journey through Hungary with his two young children, Kata and Isti. Staying briefly with distant relatives in unfamiliar cities and villages, Kalman keeps his family on the move and shuns anything resembling a home or a steady life. As their father sinks into depression, Kata and her brother create their own imaginary universe: Kata invents relationships with the people they meet during their long journey while Isti converses with the world around him-houses, stones, snow, skies. It is only in rare moments, on riverbanks and lakeshores where Kata and Isti swim with their father, that they experience a semblance of calm and happiness. Moments that feel as if life is just beginning for them...

    Don Quixote, errant knight and sane madman, with the company of his faithful squire and wise fool, Sancho Panza, together roam the world and haunt readers' imaginations as they have for nearly four hundred years.