It’s the story of a newly undivided Berlin when protest and punk rock, bohemia and direct democracy, techno and free theater were the order of the day.In a story stocked with fascinating characters from Berlin’s highly politicized undergrounds—including playwright Heiner Müller, cult figure Blixa Bargeld of the industrial band Einstürzende Neubauten, the internationally known French Wall artist Thierry Noir, the American multimedia artist Danielle de Picciotto (founder of Love Parade), and David Bowie during his Ziggy Stardust incarnation—Hockenos argues that the DIY energy and raw urban vibe of the early 1990s shaped the new Berlin and still pulses through the city today.Just as Mike Davis captured Los Angeles in his City of Quartz, Berlin Calling is a unique account of how Berlin became hip, and of why it continues to attract creative types from the world over.

    The Anglo-Saxon powers, great and small, withdraw into fantasies of lost greatness. Populists all over Europe cry out that immigration and globalisation are the work of a nefarious System, run by unseen masters with no national loyalties. From the Kremlin, Tsar Vladimir watches his Great Game line up, while the Baltic and Vizegrad states shiver -- and everyone looks to Berlin. But are the Germans really us, or them? This question has haunted Europe ever since Julius Caesar invented the Germani in 58 BC.How Roman did Germania ever become? Did the Germans destroy the culture of Rome, or inherit it? When did they first drive east, and did they ever truly rule there? How did Germany become, for centuries, a power-vacuum at the heart of Europe? How was Prussia born? Did Bismarck unify Germany or conquer it? Where are the roots of Adolf Hitler's Third Reich? Why did it lose? By what miracle did a better Germany arise from the rubble? Is Germany now the last Western bastion of industrial prosperity and rational politics? Or are the EU and the Euro merely window-dressing for a new German hegemony?This fresh, illuminating and concise new history makes sense of Europe's most admired and feared country. It's time for the real story of Germany.

    Orhan Pamuk was born in Istanbul and still lives in the family apartment building where his mother first held him in her arms. His portrait of his city is thus also a self-portrait, refracted by memory and the melancholy–or–hüzün–that all Istanbullus share: the sadness that comes of living amid the ruins of a lost empire. With cinematic fluidity, Pamuk moves from his glamorous, unhappy parents to the gorgeous, decrepit mansions overlooking the Bosphorus; from the dawning of his self-consciousness to the writers and painters–both Turkish and foreign–who would shape his consciousness of his city. Like Joyce’s Dublin and Borges’ Buenos Aires, Pamuk’s Istanbul is a triumphant encounter of place and sensibility, beautifully written and immensely moving.

    I Will Bear Witness is a work of literature as well as a revelation of the day-by-day horror of the Nazi years.                           A Dresden Jew, a veteran of World War I, a man of letters and historian of great sophistication, Klemperer recognized the danger of Hitler as early as 1933. His diaries, written in secrecy, provide a vivid account of everyday life in Hitler's Germany.                          What makes this book so remarkable, aside from its literary distinction, is Klemperer's preoccupation with the thoughts and actions of ordinary Germans: Berger the greengrocer, who was given Klemperer's house ("anti-Hitlerist, but of course pleased at the good exchange"), the fishmonger, the baker, the much-visited dentist. All offer their thoughts and theories on the progress of the war: Will England hold out? Who listens to Goebbels? How much longer will it last?                          This symphony of voices is ordered by the brilliant, grumbling Klemperer, struggling to complete his work on eighteenth-century France while documenting the ever- tightening Nazi grip. He loses first his professorship and then his car, his phone, his house, even his typewriter, and is forced to move into a Jews' House (the last step before the camps), put his cat to death (Jews may not own pets), and suffer countless other indignities.                           Despite the danger his diaries would pose if discovered, Klemperer sees it as his duty to record events. "I continue to write," he notes in 1941 after a terrifying run-in with the police. "This is my heroics. I want to bear witness, precise witness, until the very end."   When a neighbor remarks that, in his isolation, Klemperer will not be able to cover the main events of the war, he writes: "It's not the big things that are important, but the everyday life of  tyranny, which may be forgotten. A thousand mosquito bites are worse than a blow on the head. I observe, I note, the mosquito bites."

    On the way John Moschos and his pupil Sophronius the Sophist stayed in caves, monasteries, and remote hermitages, collecting the wisdom of the stylites and the desert fathers before their fragile world finally shattered under the great eruption of Islam. More than a thousand years later, using Moschos's writings as his guide, William Dalrymple sets off to retrace their footsteps and composes an evensong for a dying civilization --Kirkus Reviews, starred review

    One of them, the Prussian aristocrat Alexander von Humboldt, negotiates savanna and jungle, travels down the Orinoco, tastes poisons, climbs the highest mountain known to man, counts head lice, and explores every hole in the ground. The other, the barely socialized mathematician and astronomer Carl Friedrich Gauss, does not even need to leave his home in Göttingen to prove that space is curved. He can run prime numbers in his head. He cannot imagine a life without women, yet he jumps out of bed on his wedding night to jot down a mathematical formula. Von Humboldt is known to history as the Second Columbus. Gauss is recognized as the greatest mathematical brain since Newton. Terrifyingly famous and more than eccentric in their old age, the two meet in Berlin in 1828. Gauss has hardly climbed out of his carriage before both men are embroiled in the political turmoil sweeping through Germany after Napoleon’s fall.Already a huge best seller in Germany, Measuring the World marks the debut of a glorious new talent on the international scene.

    First published in Sweden in 1947, German Autumn, a collection of the articles written for that assignment, was unlike any other reporting at the time. While most Allied and foreign journalists spun their writing on the widely held belief that the German people deserved their fate, Dagerman disagreed and reported on the humanness of the men and women ruined by the war—their guilt and suffering. Dagerman was already a prominent writer in Sweden, but the publication and broad reception of German Autumn throughout Europe established him as a compassionate journalist and led to the long-standing international influence of the book.Presented here in its first American edition with a compelling new foreword by Mark Kurlansky, Dagerman’s essays on the tragic aftermath of war, suffering, and guilt are as hauntingly relevant today amid current global conflict as they were sixty years ago.

    Recalling the works of W. G. Sebald, Bruce Chatwin, and Rebecca Solnit, An Inventory of Losses is a beautiful evocation of twelve specific treasures that have been lost to the world forever, and that, taken as a whole, open mesmerizing new vistas of how to think about extinction and loss.With meticulous research and a vivid awareness of why we should care about these losses, Judith Schalansky, the acclaimed author of Atlas of Remote Islands, lets these objects speak for themselves: she ventriloquizes the tone of other sources, burrows into the language of contemporaneous accounts, and deeply interrogates the very notion of memory.

    The masterful narrative makes halt in Mexico, Siberia and East Berlin, climbing the summits and charting the abysses of the 20th century along the way. The result is both a stunning panorama and a monumental German novel that makes history itself tangible through the history of one family. A novel of immense stature, founded on its humanity, its precision and its humour.In Times of Fading Light focuses on three generations. The grandparents, still convinced Communists, return to the fledging East Germany at the beginning of the 1950s to do their part in establishing the new state. Their son returns from the other direction, having emigrated to Moscow and found himself banished to Siberia. He returns with his Russian wife to a country mired in petit bourgeois values, yet also brings with him an unwavering belief that they can be changed. The grandson, meanwhile, feels increasingly constricted in a heimat that was not of his choosing, and heads to the West on the very day that his grandfather, the family patriarch, turns 90. The glittering lights of a political utopia that once shone enticingly seem to be gradually fading as time wears unwaveringly on.

    Today, as much of the world succumbs to authoritarianism and democracy is undermined from its heart, Germany stands as a bulwark for decency and stability.Mixing personal journey and anecdote with compelling empirical evidence, this is a searching and entertaining exploration of the country many in the West still love to hate. Raising important questions for our post-Brexit landscape, Kampfner asks why Germany has become a model for others to emulate, while Britain still languishes in wartime nostalgia and fails to tackle contemporary challenges. Part memoir, part history, part travelogue, Why the Germans Do It Better is a rich and witty portrait of an eternally fascinating country.

    By the time the war ended in May 1945, he was indicted for 'mass murder'. Hunted by the Soviets, the Americans, the Poles and the British, as well as groups of Jews, Wächter went on the run. He spent three years hiding in the Austrian Alps, assisted by his wife Charlotte, before making his way to Rome where he was helped by a Vatican bishop. He remained there for three months. While preparing to travel to Argentina on the 'ratline' he died unexpectedly, in July 1949, a few days after spending a weekend with an 'old comrade'.In The Ratline Philippe Sands offers a unique account of the daily life of a senior Nazi and fugitive, and of his wife. Drawing on a remarkable archive of family letters and diaries, he unveils a fascinating insight into life before and during the war, on the run, in Rome, and into the Cold War. Eventually the door is unlocked to a mystery that haunts Wächter's youngest son, who continues to believe his father was a good man - what happened to Otto Wächter, and how did he die?

    One was a Prince, one was a Count, and the third was a commoner with an Italian name, who four years earlier had been the subject of one of John Singer Sargent’s greatest portraits. The commoner was Samuel Pozzi, society doctor, pioneer gynaecologist and free-thinker – a rational and scientific man with a famously complicated private life.Pozzi's life played out against the backdrop of the Parisian Belle Epoque. The beautiful age of glamour and pleasure more often showed its ugly side: hysterical, narcissistic, decadent and violent, a time of rampant prejudice and blood-and-soil nativism, with more parallels to our own age than we might imagine.The Man in the Red Coat is at once a fresh and original portrait of the Belle Epoque – its heroes and villains, its writers, artists and thinkers – and a life of a man ahead of his time. Witty, surprising and deeply researched, the new book from Julian Barnes illuminates the fruitful and longstanding exchange of ideas between Britain and France, and makes a compelling case for keeping that exchange alive.

    Sebald completed this controversial book before his death in December 2001. On the Natural History of Destruction is his harrowing and precise investigation of one of the least examined silences of our time. In it, the novelist examines the devastation of German cities by Allied bombardment and the reasons for the astonishing absence of this unprecedented trauma from German history and culture. This historical void is in part a repression of things -- such as the death by fire of the city of Hamburg at the hands of the RAF -- too terrible to bear. But rather than record the crises about them, writers sought to retrospectively justify their actions under the Nazis. For Sebald, this is an example of deliberate cultural amnesia. His analysis of its effects in and outside Germany has already provoked angry painful debate. Sebald's novels are rooted in meticulous observation. His essays are novelistic. They include his childhood recollections of the war that spurred his horror at the collective amnesia around him. There are moments of black humor and, throughout, the sensitivity of his intelligence. This book is a study of suffering and forgetting, of the morality hidden in artistic decisions, and of both compromised and genuine heroics.

    In all the euphoria over German reunification, no one stopped to think what it would mean for Jana and her generation of East Germans. These were the kids of the seventies, who had grown up in the shadow of Communism with all its hokey comforts: the Young Pioneer youth groups, the cheerful Communist propaganda, and the comforting knowledge that they lived in a Germany unblemished by an ugly Nazi past and a callous capitalist future. Suddenly everything was gone. East Germany disappeared, swallowed up by the West, and in its place was everything Jana and her friends had coveted for so long: designer clothes, pop CDs, Hollywood movies, supermarkets, magazines. They snapped up every possible Western product and mannerism. They changed the way they talked, the way they walked, what they read, where they went. They cut off from their parents. They took English lessons, and opened bank accounts. Fifteen years later, they all have the right haircuts and drive the right cars, but who are they? Where are they going?In After the Wall, Jana Hensel tells the story of her confused generation of East Germans, who were forced to abandon their past and feel their way through a foreign landscape to an uncertain future. Now as they look back, they wonder whether the oppressive, yet comforting life of their childhood wasn't so bad after all.

    Yet by the end of World War II, almost the only thing remaining of their vast empire was a collection of 264 wood and ivory carvings, none of them larger than a matchbox.The renowned ceramicist Edmund de Waal became the fifth generation to inherit this small and exquisite collection of netsuke. Entranced by their beauty and mystery, he determined to trace the story of his family through the story of the collection.The netsuke—drunken monks, almost-ripe plums, snarling tigers—were gathered by Charles Ephrussi at the height of the Parisian rage for all things Japanese. Charles had shunned the place set aside for him in the family business to make a study of art, and of beautiful living. An early supporter of the Impressionists, he appears, oddly formal in a top hat, in Renoir’s Luncheon of the Boating Party. Marcel Proust studied Charles closely enough to use him as a model for the aesthete and lover Swann in Remembrance of Things Past.Charles gave the carvings as a wedding gift to his cousin Viktor in Vienna; his children were allowed to play with one netsuke each while they watched their mother, the Baroness Emmy, dress for ball after ball. Her older daughter grew up to disdain fashionable society. Longing to write, she struck up a correspondence with Rilke, who encouraged her in her poetry.The Anschluss changed their world beyond recognition. Ephrussi and his cosmopolitan family were imprisoned or scattered, and Hitler’s theorist on the “Jewish question” appropriated their magnificent palace on the Ringstrasse. A library of priceless books and a collection of Old Master paintings were confiscated by the Nazis. But the netsuke were smuggled away by a loyal maid, Anna, and hidden in her straw mattress. Years after the war, she would find a way to return them to the family she’d served even in their exile.In The Hare with Amber Eyes, Edmund de Waal unfolds the story of a remarkable family and a tumultuous century. Sweeping yet intimate, it is a highly original meditation on art, history, and family, as elegant and precise as the netsuke themselves.