In this classic work a noted psychoanalyst assesses the persistent tension between traditional religion and the underlying philosophy of psychoanalysis, which many believe regards the satisfaction of instinctive and material wishes as the sole aim of life.

    The atmospheric stories and sketches collected here—fin-de-siècle fairy tales from the Vienna of Klimt and Freud, a number of them never before translated into English—propel the reader into a shadowy world of uncanny fates and secret desires. An aristocrat from Paris in the plague years shares a single night of passion with an unknown woman; a cavalry sergeant meets his double on the battlefield; an orphaned man withdraws from the world with his four servants, each of whom has a mysterious power over his destiny.The most influential of all of Hofmannsthal's writings is the title story, a fictional letter to the English philosopher Francis Bacon in which Lord Chandos explains why he is no longer able to write. The "Letter" not only symbolized Hofmannsthal's own turn away from poetry, it captured the psychological crisis of faith and language which was to define the twentieth century.

    The German text is en face. The six hymns comprise a deeply affecting poem that speaks across the centuries with unquestioned radiance."Appropriate for general readers and for scholars interested in the art of translation." — Choice

    The sixth edition preserves the hallmark features that instructors have come to trust, and through its use of current, authentic cultural materials, Deutsch: Na klar! teaches students how to use German in real-life situations effectively and how to communicate successfully in the German-speaking world.

    His unearthly style based on elaborate linguistic riddles and puns fascinated the Surrealists and famously influenced the composition of Marcel Duchamp's -Large Glass, - but also affected writers as diverse as Gide, Robbe-Grillet and Foucault (author of a book-length study of Roussel). The title essay of this collection is the key to Roussel's method, and it is accompanied by selections from all his major works of fiction, drama and poetry, translated by his New York School admirers John Ashbery, Kenneth Koch and Harry Mathews, and the painter and author Trevor Winkfield. Ashbery writes that Roussel's work is -like the perfectly preserved temple of a cult which has disappeared without a trace... we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret.-

    In this beautiful book, Elie Wiesel has collected many of the legends associated with this enigmatic and eluisive figure and retold them as seen throughn the eyes of a wizened gravedigger who claims to have witnessed as a child the numerous miracles that legend attributes to the Golem...

    Lying about her age, she gets work on an assembly line in West Berlin making radios, and lives in a women's factory hostel.'The Bridge of the Golden Horn' is a witty, picaresque account of a precocious teenager refusing to become wise; of a hectic four years lived between Berlin and Istanbul; of a young woman who is obsessed by theatre, film, poetry and left-wing politics.

    Wildly written in a sleep deprived haze, these pages contain an assortment of subject matter and styles all put together into one- which just feels so incredibly human..

    A century later, Jarry is firmly established as one of the leading figures of the artistic avant-garde. Italo Calvino, Umberto Eco, Gilles Deleuze, Jean Baudrillard, Philip K. Dick, Paul McCartney, DJ Spooky, Peter Greenaway, and J. G. Ballard are among his many admirers. A community of scholars and artists maintain a posthumous dialogue with Jarry's ideas through the Collège de 'Pataphysique in Paris (named after the "science of imaginary solutions" he conceived), while a steady stream of books on twentieth-century drama pay tribute to his absurd and grotesque play, Ubu Roi. Even so, most people today tend to think of Jarry only as the author of that play, and of his life as a string of outlandish "ubuesque" anecdotes, often recounted with wild inaccuracy. In this first full-length critical biography of Jarry in English, Alastair Brotchie reconstructs the life of a man intent on inventing (and destroying) himself, not to mention his world, and the "philosophy" that defined their relation. In short, Brotchie gives us the narrative version of what Jarry himself produced: a pataphysical life. Drawing on a wealth of new material, Brotchie alternates chapters of biographical narrative with chapters that connect themes, obsessions, and undercurrents that relate to the life.The anecdotes remain, and are even augmented: Jarry's assumption of the "ubuesque," his inversions of everyday behavior (such as eating backwards, from cheese to soup), his exploits with gun and bicycle, and his herculean feats of drinking. But Brotchie distinguishes between Jarry's purposely playing the fool and deeper nonconformities that appear essential to his writing and his thought, both of which remain a vital subterranean influence to this day.

    Dreams alternate with reality in this story within a story within a story. Translated by Ralph Manheim. A Helen and Kurt Wolff Book

    Every day, thousands more pour in on ships from France. But only the most dangerous are sent to Camp 21 - 'black' prisoners - SS diehards who've sworn death before surrender. Nothing will stop their war, unless it's a bullet.As one fanatic plots a mass breakout and glorious march on London, Max Hartmann dreams of the oath he pledged to the teenage bride he scarcely knows and the child he's never met. Where do his loyalties really lie? To Hitler or to the life he left behind in the bombed ruins of his homeland?Beneath the wintry mountains, in the hell of Black Camp 21, suspicion and fear swirl around like the endless snow. And while the Reich crumbles - and his brutal companions plan their assault - Max's toughest battle is only just beginning.Inspired by terrifying actual events, Black Camp 21 takes readers on a gut-wrenching journey from the battlefields of France to its shocking climax in a camp which still stands today.

    Old Saxon epic poem The Heliand is at last available in English in Ronald Murphy's graceful new translation. Representing the first full integration and poetic reworking of the Gospel story into NorthernEuropean warrior imagery and culture, the poem finds a place for many Old Northern religious concepts and images while remaining faithful to the orthodox Christian teaching of the Gospel of St. Mark. Accessible to students of medieval and comparative literature, Murphy's introduction and notesprovide valuable insight and a cultural context for this unique masterpiece.

     However, his adventure isn’t limited to the jungle. Instead, as he travels across the galaxies, he learns important lessons about family, loyalty, and revenge. This novella is told from Thunderdrop’s point of view. His adventures coincide with the events of The Inquisitors.

    The young chemical engineer offers compelling testimony of Saddam Hussein’s secret program to build weapons of mass destruction. He claims that the dictator has constructed germ factories on trucks, creating a deadly hell on wheels. His grateful German hosts pass his account to their CIA counterparts but deny the Americans access to their superstar informant. The Americans nevertheless give the defector his unforgettable code name: Curveball.The case lies dormant until after 9/11, when the Bush administration turns its attention to Iraq. Determined to invade, Bush’s people seize on Curveball’s story about mobile germ labs–even though it has begun to unravel. Ignoring a flood of warnings about the informant’s credibility, the CIA allows President Bush to cite Curveball’s unconfirmed claims in a State of the Union speech. Finally, Secretary of State Colin Powell highlights the Iraqi’s “eyewitness” account during his historic address to the U.N. Security Council. Yet the entire case is based on a fraud. America’s vast intelligence apparatus conjured up demons that did not exist. And the proof was clear before the war.Most of the events and conversations presented here have not been reported before. The portrayals–from an obdurate president to a bamboozled secretary of state to a bungling CIA director to case handlers conned by their snitch–are vivid and exciting. Curveball reads like an investigative spy thriller. Fast-paced and engrossing, it is an inside story of intrigue and incompetence at the highest levels of government. At a time when Americans demand answers, this authoritative book provides them with clarity and conviction.Just when you thought the WMD debacle couldn’t get worse, here comes veteran Los Angeles Times national-security correspondent Drogin’s look at just who got the stories going in the first place…Simultaneously sobering and infuriating–essential reading for those who follow the headlines. --Kirkus Reviews In this engrossing account, Los Angeles Times correspondent Drogin paints an intimate and revealing portrait of the workings and dysfunctions of the intelligence community. --Publishers WeeklyEnter Bob Drogin's new book… an insightful and compelling account of one crucial component of the war's origins… Had Drogin merely pieced together Curveball's story, it alone would have made for a thrilling book. But he provides something more: a frightening glimpse at how easily we could make the same mistakes again…The real value of Drogin's book is its meticulous demonstration that bureaucratic imperative often leads to self-delusion.--Washington MonthlyDrogin delivers a startling account of this fateful intelligence snafu.--BooklistBut, again, the intelligence community was disappointing the Bush administration… Los Angeles Times correspondent Bob Drogin lays out the whole sorry tale in his forthcoming book, "Curveball: Spies, Lies, and the Con Man Who Caused a War." --Newsweek By the time you finish this book you will be shaking your head with wonder, or perhaps you will be shaking with anger, about the misadventures that preceded the misadventures in Iraq. This book is so powerful, it almost refutes its subtitle: The man called Curveball did not cause a war; he became a pretext -- one among many. -- George F. Will There used to be an old rule that *real* journalists lived by: 'All governments are run by liars, and nothing they say should be believed.' We've come a long way from those days, to a media that has been cowed into submission and accepting the 'official story.' Thank God for Bob Drogin and his refusal to believe. It's journalists like him and books like CURVEBALL that give many of us a sliver of hope that we can turn things around. --Michael Moore, Director of "Fahrenheit 9/11," and "Sicko"Curveball is the factual equivalent of Catch 22. It is impossible to read this book and then look at our world leaders without thinking, "F*ck. Oh f*ck. Oh my God, oh f*ck." --Mark Thomas, comedian and political activist…the biggest fiasco in the history of secret intelligence over 500 years.--Frederick Forsyth, author of The Day Of The Jackal, The Odessa File and The AfghanBob Drogin struck journalistic gold in this story of a conman who told his intelligence handlers exactly what they wanted to hear. If this twisted tale could be read simply as a thrilling farce it would be pure delight -- but much more importantly, it is a history of our time.--Philip GourevitchBob Drogin is a brilliant reporter. In Curveball, he has produced a riveting and important investigation, full of startling and carefully documented detail, laying bare the anatomy of an intelligence failure and its contribution to a catastrophic war.--Steve Coll, author of GHOST WARS: The Secret History of the CIA, Afghanistan, and Bin Laden, from the Soviet Invasion to September 10, 2001Bob Drogin accomplishes what only the best reporters can; he forces you to wonder how he could possibly know that! If you want to know how the CIA could have possibly been so wrong about Iraq, here is a big part of the answer.--Mark Bowden, author of Black Hawk DownA crucial study in the political manipulation of intelligence, understanding how Curveball got us into Iraq will arm us for the next round of lies coming out of Washington.--Robert Baer, author of See No Evil: The True Story of a Ground Soldier in the CIA's War on TerrorismHere we go again: the self-deception, the corruption of intelligence, and the abuse of authority, amid a full cast of the usual suspects in the White House and the Pentagon. It's a crucially important story, and it comes wonderfully alive in Curveball. It would be almost fun to read if the message wasn't so important–and so devastating to the integrity of the American processes.--Seymour M. Hersh, author of Chain of Command: The Road from 9/11 to Abu Ghraib Curveball is a true story, marvelously reported, about a descent into the netherworld of deceit and duplicity, where the lies of a single man in an interrogation cell in Germany grew like a malign spore in the dark. When it emerged, on the lips of the President and the Secretary of State, it infected the course of world events.--Jonathan Harr, author of A Civil Action and The Lost Painting.