The resulting novel, The Artificial Silk Girl, became an acclaimed bestseller and a masterwork of German literature, in the tradition of Christopher Isherwood's 'Berlin Stories' and Bertolt Brecht's 'Three Penny Opera'. Like Isherwood and Brecht, Keun revealed the dark underside of Berlin's "golden twenties" with empathy and honesty. Unfortunately, a Nazi censorship board banned Keun's work in 1933, and destroyed all existing copies of The Artificial Silk Girl. Only one English translation was ever published, in Great Britain, before the book disappeared in the chaos of the ensuing war. Today, more than seven decades later, the story of this quintessential "material girl" remains as relevant as ever, as an accessible new translation brings this lost classic to light once more. Other Press is pleased to announce the republication of The Artificial Silk Girl, elegantly translated by noted Germanist Kathie von Ankum, and featuring a new introduction by Harvard professor Maria Tatar.

    With the off-handed knowingness of a remorseless young Eve, the narrator describes life as a captive of the school and her designs to win the affections of the apparently perfect new girl, Fréderique. As she broods over her schemes as well as on the nature of control and madness, the novel gathers a suspended, unsettling energy. Now translated into six languages, I beati anni del castigo in its Italian original won the 1990 Premio Bagutta and the 1990 Premio Speciale Rapallo. In Tim Parks’ consummate translation (with its "spare, haunting quality of a prose poem"), Sweet Days of Discipline was selected as one of the London Times Literary Supplement’s Notable Books of 1992: "In a period when novels are generally overblown and scarcely portable, it is good to be able to recommend [one that is] miraculously short and beautifully written."

    During the years when her husband F. Scott Fitzgerald was working on Tender is the Night—which many critics consider his masterpiece—Zelda Fitzgerald was preparing her own story. The novel strangely parallels events from her husband’s life, throwing a fascinating light on Scott Fitzgerald and his work. In its own right, it is a vivid and moving story—centered upon the confessional of a famous glamour girl of the affluent 1920s and an aspiring ballerina—that captures the spirit of an era.

    A monster seeks silence in his territory. A warrior seeks to avenge her murdered son. A dragon ends it all. These familiar components of the epic poem are seen with a novelist’s eye toward gender, genre, and history. Beowulf has always been a tale of entitlement and encroachment — of powerful men seeking to become more powerful and one woman seeking justice for her child — but this version brings new context to an old story. While crafting her contemporary adaptation, Headley unearthed significant shifts lost over centuries of translation; her Beowulf is one for the twenty-first century.

    Placed by the parents of a 15-year-old Jewish girl, Dora Bruder, who had run away from her Catholic boarding school, the ad sets Modiano off on a quest to find out everything he can about Dora and why, at the height of German reprisals, she ran away on a bitterly cold day from the people hiding her. He finds only one other official mention of her name on a list of Jews deported from Paris to Auschwitz in September 1942. With no knowledge of Dora Bruder aside from these two records, Modiano continues to dig for fragments from Dora's past. What little he discovers in official records and through remaining family members, becomes a meditation on the immense losses of the period—lost people, lost stories, and lost history. Modiano delivers a moving account of the ten-year investigation that took him back to the sights and sounds of Paris under the Nazi Occupation, and the paranoia of the Pétain regime as he tries to find connections to Dora. In his efforts to exhume her from the past, Modiano realizes that he must come to terms with the specters of his own troubled adolescence. The result, a montage of creative and historical material, is Modiano's personal rumination on loss, both memoir and memorial.

    Here are seven exquisite tales combining the keen psychological insight characteristic of the modern short story with the haunting mystery of the nineteenth-century Gothic tale, in the tradition of writers such as Goethe, Hoffmann, and Poe.

    The novel's vision of Soviet life in the 1930s is so ferociously accurate that it could not be published during its author's lifetime and appeared only in a censored edition in the 1960s. Its truths are so enduring that its language has become part of the common Russian speech.One hot spring, the devil arrives in Moscow, accompanied by a retinue that includes a beautiful naked witch and an immense talking black cat with a fondness for chess and vodka. The visitors quickly wreak havoc in a city that refuses to believe in either God or Satan. But they also bring peace to two unhappy Muscovites: one is the Master, a writer pilloried for daring to write a novel about Christ and Pontius Pilate; the other is Margarita, who loves the Master so deeply that she is willing literally to go to hell for him. What ensues is a novel of inexhaustible energy, humor, and philosophical depth, a work whose nuances emerge for the first time in Diana Burgin's and Katherine Tiernan O'Connor's splendid English version.

    In the company of his faithful squire, Sancho Panza, his exploits blossom in all sorts of wonderful ways. While Quixote's fancy often leads him astray—he tilts at windmills, imagining them to be giants—Sancho acquires cunning and a certain sagacity. Sane madman and wise fool, they roam the world together, and together they have haunted readers' imaginations for nearly four hundred years.With its experimental form and literary playfulness, Don Quixote has been generally recognized as the first modern novel. The book has been enormously influential on a host of writers, from Fielding and Sterne to Flaubert, Dickens, Melville, and Faulkner, who reread it once a year, "just as some people read the Bible."

    It is the winner of the Noma Award.

    Haunted by the deaths of his parents and wielding his tin drum Oskar recounts the events of his extraordinary life; from the long nightmare of the Nazi era to his anarchic adventures in post-war Germany.

    As a study of conspiracy and conspirators, of men caught in the desperate clash of ideologies, betrayal, expediency, and of free will, Andre Malraux's novel remains unequaled.Translated from the French by Haakon M. Chevalier

    In an unnamed dream country, the young man Cincinnatus C. is condemned to death by beheading for "gnostical turpitude", an imaginary crime that defies definition. Cincinnatus spends his final days in an absurd jail, where he is visited by chimerical jailers, an executioner who masquerades as a fellow prisoner, and by his in-laws, who lug their furniture with them into his prison cell.

    Her investigative partner is photographer Francisco Leal, the son of impoverished Spanish Marxist émigrés. Together, they form an unlikely but inseparable team—and Francisco quickly falls in love with the fierce and loyal Irene. When an assignment leads them to a young girl whom locals believe to possess miraculous powers, they uncover an unspeakable crime perpetrated by an oppressive regime. Determined to reveal the truth in a nation overrun by terror and violence, each will risk everything to find justice—and, ultimately, to embrace the passion and fervor that binds them.Profoundly moving and ultimately uplifting, Of Love and Shadows is a tale of romance, bravery, and tragedy, set against the indelible backdrop of a country ruled with an iron fist—and peopled with those who dare to challenge it.

    It is one of the great love stories, and also one of the most enigmatic: how reliable a witness is Des Grieux, Manon's lover, whose tale he narrates? Is Manon a thief and a whore, the image of love itself, or a thoroughly modern woman? Prevost is careful to leave the ambiguities unresolved, and to lay bare the disorders of passion." This new translation includes the vignette and eight illustrations that were approved by Prevost and first published in the edition of 1753.

    Its twelve, stand-alone fragments follow the first year of her separation from her husband. The novel is full of light, sometimes comforting and sometimes dangerous: sunlight streaming through windows, dappled light in the park, distant fireworks, dazzling floodwater, desaturated streetlamps and earth-shaking explosions. The seemingly artless prose is beautifully patterned: the cumulative effect is disarmingly powerful and images remain seared into your retina for a long time afterwards.