The von Globig family’s manor house, the Georgenhof, is falling into disrepair. Auntie runs the estate as best she can since Eberhard von Globig, a special officer in the German army, went to war, leaving behind his beautiful but vague wife, Katharina, and her bookish twelve-year-old son, Peter. As the road fills with Germans fleeing the occupied territories, the Georgenhof begins to receive strange visitors—a Nazi violinist, a dissident painter, a Baltic baron, even a Jewish refugee. Yet in the main, life continues as banal, wondrous, and complicit as ever for the family, until their caution, their hedged bets, and their denial are answered by the wholly expected events they haven’t allowed themselves to imagine.All for Nothing, published in 2006, was the last novel by Walter Kempowski, one of postwar Germany’s most acclaimed and popular writers.

    Jewish shops have been ransacked and looted, synagogues destroyed. As storm troopers pound on his door, Otto Silbermann, a respected businessman who fought for Germany in the Great War, is forced to sneak out the back of his own home. Turned away from establishments he had long patronized, and fearful of being exposed as a Jew despite his Aryan looks, he boards a train.And then another. And another . . . until his flight becomes a frantic odyssey across Germany, as he searches first for information, then for help, and finally for escape. His travels bring him face-to-face with waiters and conductors, officials and fellow outcasts, seductive women and vicious thieves, a few of whom disapprove of the regime while the rest embrace it wholeheartedly.Clinging to his existence as it was just days before, Silbermann refuses to believe what is happening even as he is beset by opportunists, betrayed by associates, and bereft of family, friends, and fortune. As his world collapses around him, he is forced to concede that his nightmare is all too real.Twenty-three-year-old Ulrich Boschwitz wrote The Passenger at breakneck speed in 1938, fresh in the wake of the Kristallnacht pogroms, and his prose flies at the same pace. Taut, immediate, infused with acerbic Kafkaesque humor, The Passenger is an indelible portrait of a man and a society careening out of control.

    A small child when he comes to England on a Kindertransport in the summer of 1939, one Jacques Austerlitz is told nothing of his real family by the Welsh Methodist minister and his wife who raise him. When he is a much older man, the fleeting memories return to him, and obeying an instinct he only dimly understands, he follows their trail back to the world he left behind a half century before. There, faced with the void at the heart of twentieth-century Europe, he struggles to rescue his heritage from oblivion.

    With masterly precision, Canetti reveals Kien's character, displaying the flawed personal relationships which ultimately lead to his destruction.Manipulated by his illiterate and grasping housekeeper, Therese, who has tricked him into marriage, and Benedikt Pfaff, a brutish concierge, Kien is forced out of his apartment - which houses his great library and one true passion - and into the underworld of the city. In this purgatory he is guided by a chess-playing dwarf of evil propensities, until he is eventually restored to his home. But on his return he is visited by his brother, an eminent psychiatrist who, by an error of diagnosis, precipitates the final crisis..."Auto-da-Fé" was first published in Germany in 1935 as "Die Blendung" ("The Blinding" or "Bedazzlement") and later in Britain in 1947, where the publisher noted Canetti as a 'writer of strongly individual genius, which may prove influential', an observation borne out when the author was awarded the Nobel Prize for Literature in 1981. "Auto-da-Fé" still towers as one of the greatest novels of the twentieth century, and Canetti's incisive vision of an insular man battling agianst the outside world is as fresh and rewarding today as when first it appeared in print.

    A major hit in Germany that went on to become one of Europe’s biggest literary blockbusters in the last five years, Night Train to Lisbon is an astonishing novel, a compelling exploration of consciousness, the possibility of truly understanding another person, and the ability of language to define our very selves. Raimund Gregorius is a Latin teacher at a Swiss college who one day—after a chance encounter with a mysterious Portuguese woman—abandons his old life to start a new one. He takes the night train to Lisbon and carries with him a book by Amadeu de Prado, a (fictional) Portuguese doctor and essayist whose writings explore the ideas of loneliness, mortality, death, friendship, love, and loyalty. Gregorius becomes obsessed by what he reads and restlessly struggles to comprehend the life of the author. His investigations lead him all over the city of Lisbon, as he speaks to those who were entangled in Prado’s life. Gradually, the picture of an extraordinary man emerges—a doctor and poet who rebelled against Salazar’s dictatorship.

    The very wide audience which Rilke’s work commands today will welcome the reissue in paperback of this extremely perceptive translation of the Notebooks by M. D. Herter Norton. A masterly translation of one of the first great modernist novels by one of the German language's greatest poets, in which a young man named Malte Laurids Brigge lives in a cheap room in Paris while his belongings rot in storage. Every person he sees seems to carry their death within them and with little but a library card to distinguish him from the city's untouchables, he thinks of the deaths, and ghosts, of his aristocratic family, of which he is the sole living descendant. Suffused with passages of lyrical brilliance, Rilke's semi-autobiographical novel is a moving and powerful coming-of-age story.

    Severin finds his ideal of voluptuous cruelty in the merciless Wanda von Dunajew. This is a passionate and powerful portrayal of one man's struggle to enlighten and instruct himself and others in the realm of desire. Published in 1870, the novel gained notoriety and a degree of immortality for its author when the word "masochism"—derived from his name—entered the vocabulary of psychiatry. This remains a classic literary statement on sexual submission and control.

    She has decided he is the father.And so begins a comedy in which, during five madcap days, events unfold with ever-increasing speed. Klima's beautiful, jealous wife; the nurse's equally jealous boyfriend; a fanatical gynecologist; a rich American, at once Don Juan and saint; and an elderly political prisoner who, just before his emigration, is holding a farewell party at the spa, are all drawn into this black comedy, as in A Midsummer Night's Dream.As usual, Milan Kundera poses serious questions with a blasphemous lightness which makes us understand that the modern world has taken away our right to tragedy.

    In The Captive, Proust’s narrator describes living in his mother’s Paris apartment with his lover, Albertine, and subsequently falling out of love with her. In The Fugitive, the narrator loses Albertine forever. Rich with irony, The Captive and The Fugitive inspire meditations on desire, sexual love, music, and the art of introspection. For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).

    Assuming her isolation to be the result of a military experiment gone awry, she begins the terrifying work of survival and self-renewal. This novel is at once a simple and moving tale and a disturbing meditation on humanity.

    They have refused to negotiate with the Ottoman Empire, and war is now inevitable. Soon enough dust kicked up by Turkish horses is spotted from a citadel. Brightly coloured banners, hastily constructed minarets and tens of thousands of men fill the plain below. From this moment on, the world is waiting to hear that the fortress has fallen. The Siege tells the enthralling story of the weeks and months that follow – of the exhilaration and despair of the battlefield, the constantly shifting strategies of war, and those whose lives are held in balance, from the Pasha himself to the technicians, artillerymen, astrologer, blind poet and harem of women that accompany him. Brilliantly vivid, as insightful as it is compelling, The Siege is an unforgettable account of the clash of two great civilisations. As a portrait of war, it resonates across the centuries and confirms Ismail Kadare as one of our most significant writers.

    The Great War is raging through Europe, and in the ancient, mountainous lands southwest of the Caspian Sea the Turks have begun systematically to exterminate their Christian subjects. Unable to deny his birthright or his people, one man, Gabriel Bagradian—born an Armenian, educated in Paris, married to a Frenchwoman, and an officer doing his duty as a Turkish subject in the Ottoman army—will strive to resist death at the hands of his blood enemy by leading 5,000 Armenian villagers to the top of Musa Dagh, "the mountain of Moses." There, for forty days, in the face of almost certain death, they will suffer the siege of a Turkish army hell-bent on genocide. A passionate warning against the dangers of racism and scapegoating, and prefiguring the ethnic horrors of World War II, this important novel from the early 1930s remains the only significant treatment, in fiction or nonfiction, of the first genocide in the twentieth century's long series of inhumanities. It also continues to be today what the New York Times deemed it in 1933—"a true and thrilling novel ... a story which must rouse the emotions of all human beings." "Musa Dagh gives us a lasting sense of participation in a stirring episode of history.... Magnificent."—The New York Times Book Review "A novel full of the breath, the flesh and blood and bone and spirit of life."—Saturday Review

    A middle-aged bachelor, he has no interest in anything beyond the certificates of birth, marriage, divorce, and death, that are his daily routine. But one day, when he comes across the records of an anonymous young woman, something happens to him. Obsessed, Senhor José sets off to follow the thread that may lead him to the woman-but as he gets closer, he discovers more about her, and about himself, than he would ever have wished.The loneliness of people's lives, the effects of chance, the discovery of love-all coalesce in this extraordinary novel that displays the power and art of José Saramago in brilliant form.

    Plunging toward its riveting finale, Malina brutally lays bare the struggle for love and the limits of discourse between women and men.

    In an effort to retrieve his past, he withdraws to the family home somewhere in the hills between Milan and Turin. There, in the sprawling attic, he searches through boxes of old newspapers, comics, records, photo albums, and adolescent diaries. And so Yambo relives the story of his generation: Mussolini, Catholic education and guilt, Josephine Baker, Flash Gordon, Fred Astaire. His memories run wild, and the life racing before his eyes takes the form of a graphic novel. Yambo struggles through the frames to capture one simple, innocent image: that of his first love. A fascinating, abundant novel-wide-ranging, nostalgic, funny, full of heart-from the incomparable Eco.