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.

    Throughout her life, which spanned the Nazi era, the war, and the postwar consumer economy, she struggled to maintain appearances, only to arrive at a terrible recognition: "I'm not human any more." Not long after, she killed herself with an overdose of sleeping pills.In A Sorrow Beyond Dreams her son sits down to record what he knows, or thinks he knows, about his mother's life and death before, in his words, "the dull speechlessness—the extreme speechlessness" of grief takes hold forever. And yet the experience of speechlessness, as it marks both suffering and love, lies at the heart of Handke's brief but unforgettable elegy. This austere, scrupulous, and deeply moving book is one of the finest achievements of a great contemporary writer.

     Alice Herdan-Zuckmayer and her husband, the playwright Carl Zuckmayer, lived at the heart of intellectual life in Weimar, Germany, counting among their circle Stefan Zweig, Alma Mahler, and Bertolt Brecht. After Carl's work fell afoul of the Nazis, however, the couple and their two daughters were forced to flee Europe. Los Angeles didn't suit them and neither did New York, but then a chance stroll in the Vermont woods led them to Backwoods Farm, the eighteenth-century house where they would live for the next five years. In Europe, the Zuckmayers were accustomed to servants; in Vermont, they found themselves joyfully building chicken coops and refereeing fights between unruly ducks. Despite the endless work a new farm required and brutal winters that triggered bouts of melancholy, Alice discovered that in America she had found her native land.

    As a gift for his translator's sister, a Beatles fanatic who will be his host, Saul's girlfriend will shoot a photograph of him standing in the crosswalk on Abbey Road, an homage to the famous album cover. As he waits for her to arrive, he is grazed by an oncoming car, which changes the trajectory of his life.The Man Who Saw Everything is about the difficulty of seeing ourselves and others clearly. It greets the specters that come back to haunt old and new love, previous and current incarnations of Europe, conscious and unconscious transgressions, and real and imagined betrayals, while investigating the cyclic nature of history and its reinvention by people in power. Here, Levy traverses the vast reaches of the human imagination while artfully blurring sexual and political binaries-feminine and masculine,

    Includes stunning illustrations by Christoph Niemann. "A novelist who writes in a universal language." --The New York TimesIn The Archer we meet Tetsuya, a man once famous for his prodigious gift with a bow and arrow but who has since retired from public life, and the boy who comes searching for him. The boy has many questions, and in answering them Tetsuya illustrates the way of the bow and the tenets of a meaningful life. Paulo Coelho's story suggests that living without a connection between action and soul cannot fulfill, that a life constricted by fear of rejection or failure is not a life worth living. Instead one must take risks, build courage, and embrace the unexpected journey fate has to offer.With the wisdom, generosity, simplicity, and grace that have made him an international best seller, Paulo Coelho provides the framework for a rewarding life: hard work, passion, purpose, thoughtfulness, the willingness to fail, and the urge to make a difference.

    Yet the literary landscape of this dynamic part of the world has been bound together not by borders and nationalities, but by a common experience of Western imperialism. Keenly aware of the collected scars left by a legacy of colonial rule, the acclaimed writer Reza Aslan, with a team of four regional editors and seventy-seven translators, cogently demonstrates with Tablet and Pen how literature can, in fact, be used to form identity and serve as an extraordinary chronicle of the disrupted histories of the region.Acting with Words Without Borders, which fosters international exchange through translation and publication of the world’s finest literature, Aslan has purposefully situated this volume in the twentieth century, beyond the familiar confines of the Ottoman past, believing that the writers who have emerged in the last hundred years have not received their full due. This monumental collection, therefore, of nearly two hundred pieces, including short stories, novels, memoirs, essays and works of drama—many of them presented in English for the first time—features translated works from Arabic, Persian, Urdu, and Turkish. Organized chronologically, the volume spans a century of literature—from the famed Arab poet Khalil Gibran to the Nobel laureates Naguib Mahfouz and Orhan Pamuk, from the great Syrian-Lebanese poet Adonis to the grand dame of Urdu fiction, Ismat Chughtai—connected by the extraordinarily rich tradition of resplendent cultures that have been all too often ignored by the Western canon.By shifting America’s perception of the Middle Eastern world away from religion and politics, Tablet and Pen evokes the splendors of a region through the voices of its writers and poets, whose literature tells an urgent and liberating story. With a wealth of contextual information that places the writing within the historical, political, and cultural breadth of the region, Tablet Pen is transcendent, a book to be devoured as a single sustained narrative, from the first page to the last. Creating a vital bridge between two estranged cultures, "this is that rare anthology: cohesive, affecting, and informing" (Publishers Weekly).

    Studer is confronted with an obvious suspect and a confession to the murder. But nothing is what it seems. Envy, hatred, and the corrosive power of money lie just beneath the surface. Studer’s investigation soon splinters the glassy façade of Switzerland’s tidy villages and manicured forests.Diagnosed a schizophrenic, addicted to morphine and opium, Friedrich Glauser spent the greater part of his life in psychiatric wards, insane asylums and prison. His acute observations conjure up a world of those at the margins of society.

    Levi was a master storyteller but he did not write fairytales. These stories are an elegy to the human figures who stood out against the tragic background of Auschwitz, 'the ones in whom I had recognized the will and capacity to react, and hence a rudiment of virtue'. Each centres on an individual who - whether it be through a juggling trick, a slice of apple or a letter - discovers one of the 'bizarre, marginal moments of reprieve'.The English edition includes just one section of the three originally published in Italian under the title 'Lilít', tales from the other two sections have been published in 'A Tranquil Star'.

    Parable, paradox, anecdote, dream, and autobiography blend into an exuberant world view and affirmation of human possibility.

    The poems speak intimately of their authors' sexual longing, fulfillment and disillusionment.

    His verse is renowned and loved for its powerful insight and emotion, and its exquisite music. Yet, unlike many of his peers, Ungaretti has never been adequately presented to English readers. This large bilingual selection, translated with great sensitivity and fidelity by Andrew Frisardi, captures Ungaretti in all of his phases: from his early poems, written in the trenches of northern Italy during World War I, to the finely crafted erotic and religious poetry of his second period, to the visceral, elegiac poetry of the years following the death of his son and the occupation of Rome during World War II, to the love poems of the poet's old age. Frisardi's in-depth introduction details the world in which Ungaretti's work took shape and exerted its influence. In addition to the poet's own annotations, an autobiographical afterword, "Ungaretti on Ungaretti," further illuminates the poet's life and art. Here is a compelling, rewarding, and comprehensive version of the work of one of the greatest modern European poets.

    In this new, widely acclaimed translation that restores the controversial passages that were cut out of the original English version, "Death in Venice" tells about a ruinous quest for love and beauty amid degenerating splendor. Gustav von Aschenbach, a successful but lonely author, travels to the Queen of the Adriatic in search of an elusive spiritual fulfillment that turns into his erotic doom. Spellbound by a beautiful Polish boy, he finds himself fettered to this hypnotic city of sun-drenched sensuality and eerie physical decay. Also included in this volume are eleven other stories by Mann: "Tonio Kroger," "Gladius Dei," "The Blood of the Walsungs," "The Will for Happiness," "Little Herr Friedmann," "Tobias Mindernickel," "Little Lizzy," "Tristan," "The Starvelings," "The Wunderkind," and "Harsh Hour." All of the stories collected here display Mann's inimitable use of irony, his subtle characterizations, and superb, complex plots.

    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.

    In the hands of Jean de Meun, who continued de Lorris's work, it assumed vast proportions and embraced almost every aspect of medieval life from predestination and optics, to the Franciscan controversy and the right way to deal with premature hair-loss.

    His insider observations are set down with passion, with outrage, and almost unbearable sadness.