In the brief years between the twentieth centurys two cataclysmic world wars, the modern metropolis was invented in Berlin. Life in Berlin was a cabaret, and Marlene Dietrich, Thomas Mann, Alfred Einstein, or Joseph Goebbels might be seated at the next table. The avant-garde thrived there. The mass media magnified the impact of everything from fads to political ideas. Subcultures and club cultures nurtured gender-bending fashions and lifestyles. Architects and designers struggled to free themselves from the past. In the background beat the new rhythms of urban experience: the coming and going of the latest planes and trains and automobiles, the clacking of typewriters in vast offices, the jazz band that never sleeps. Berlin: The Twenties is a book for history buffs, travelers, and lovers of modern art and design.

    Kessler’s immersion in the new art and literature of Paris, London, and Berlin unfolds in the first part of the diaries. This refined world gives way to vivid descriptions of the horrific fighting on the Eastern and Western fronts of World War I, the intriguing private discussions among the German political and military elite about the progress of the war, as well as Kessler’s account of his role as a diplomat with a secret mission in Switzerland.   Profoundly modern and often prescient, Kessler was an erudite cultural impresario and catalyst who as a cofounder of the avant-garde journal Pan met and contributed articles about many of the leading artists and writers of the day. In 1903 he became director of the Grand Ducal Museum of Arts and Crafts in Weimar, determined to make it a center of aesthetic modernism together with his friend the architect Henry van de Velde, whose school of design would eventually become the Bauhaus. When a public scandal forced his resignation in 1906, Kessler turned to other projects, including collaborating with the Austrian writer Hugo von Hofmannsthal and the German composer Richard Strauss on the opera Der Rosenkavalier and the ballet The Legend of Joseph, which was performed in 1914 by the Ballets Russes in London and Paris. In 1913 he founded the Cranach-Presse in Weimar, one of the most important private presses of the twentieth century.   The diaries present brilliant, sharply etched, and often richly comical descriptions of his encounters, conversations, and creative collaborations with some of the most celebrated people of his time: Otto von Bismarck, Paul von Hindenburg, Hugo von Hofmannsthal, Richard Strauss, Igor Stravinsky, Sergei Diaghilev, Vaslav Nijinsky, Isadora Duncan, Ruth St. Denis, Sarah Bernhardt, Friedrich Nietzsche, Rainer Marie Rilke, Paul Verlaine, Gordon Craig, George Bernard Shaw, Harley Granville-Barker, Max Klinger, Arnold Böcklin, Max Beckmann, Aristide Maillol, Auguste Rodin, Edgar Degas, Éduard Vuillard, Claude Monet, Edvard Munch, Ida Rubinstein, Gabriele D’Annunzio, Pierre Bonnard, and Walther Rathenau, among others.   Remarkably insightful, poignant, and cinematic in their scope, Kessler’s diaries are an invaluable record of one of the most volatile and seminal moments in modern Western history.

    ""This is Berlin"" gathers together two-and-a-half years worth of his daily CBS radio broadcasts that described the menacing steps Germany took toward World War II, just as America and the world heard them. Here is a vivid, compelling, and urgent narrative, one of the great first-hand documents of the Second World War. An introduction by noted historian John Keegan and a preface by Shirer's daughter, Inga Shirer Dean, put Shirer's life and work into context. "It would be almost impossible to overstate the importance of William L. Shirer's broadcasts from Germany . . . Mr. Shirer's descriptions . . . read as well as they were heard 60 years ago." ("Dallas Morning News") "Shirer's broadcasts . . . are models of eloquence and subterfuge . . . any reader will find it hard to put down." ("Publishers Weekly," starred review) "His broadcasts . . . have an enduring freshness." ("Sunday Times")

    In this major work, Detlev J.K. Peukert offers a stimulating interpretation that not only places Weimar in the history of twentieth-century Germany but also reveals it as an archetype of the ambivalences and pathologies of advanced industrial society.

    People are fleeing East Berlin while they can. The East German authorities are ratcheting up the pressure on the "Bordercrossers". Klaus Schultz is handed documents outlining Ulbricht's plans to build a wall, but are they genuine? Impetuous journalist Jack Kaymer discovers an East Berlin warehouse brimming with concrete posts and barbed wire. The headstrong Eva Schultz continues to live in the eastern sector whilst working in the west. The Stasi coerce Jack to stop him publishing his story and take his girlfriend, Eva as the bargaining chip. In spite of their original enmity, Jack and Klaus work together to have Eva released before the border is closed, but Klaus' past comes back to haunt them. Can Jack and Klaus outwit the Stasi? Will they get Eva out alive? Meanwhile, Colonel Hans Erdmann of the People's Army is losing faith in the regime. His bosses want to put him out to grass. When they find Hans harder to dislodge than they anticipated, they resort to dirty tactics. Hans sees the end coming and decides it's time to get out. Their destinies are all firmly in the hands of the wily, KGB spymaster, Burzin and his arch rival General Dobrovsky. Set against the backdrop of the Berlin Crisis, "Caught in the Mousetrap" is a fast-paced thriller for the lovers of Cold War Berlin and those who enjoy a story in the Len Deighton mould, with a touch of Bernie Gunther thrown in. The story of the Schultz family has begun...2x Longlisted Theakstons Crime Novel of the Year. Winner CWA History Dagger.

    The Jewish Wife is from the Fear and Misery in the Third Reich cycle of one-act plays, which, along with In Search of Justice and The Informer, chromicles the hardships of life in Nazi Germany. The Exception and the Rule, one of Brecht's most popular short works, grimly depicts the consequences of the mutually dependent -- yet inevitable inequitable -- relationship between the priviledged and the poor; it is included here with The Measures Taken and The Elephant Calf. Though all of these ales of horror, ad Eric Bentley calls them, have tragic undertones, they are also infused with farcical absurdities and cosmic irony so characteristic of Brecht's work.

    Berlin Stories collects his alternately celebratory, droll, and satirical observations on every aspect of the bustling German capital, from its theaters, cabarets, painters’ galleries, and literary salons, to the metropolitan street, markets, the Tiergarten, rapid-service restaurants, and the electric tram. Originally appearing in literary magazines as well as the feuilleton sections of newspapers, the early stories are characterized by a joyous urgency and the generosity of an unconventional guide. Later pieces take the form of more personal reflections on the writing process, memories, and character studies. All are full of counter-intuitive images and vignettes of startling clarity, showcasing a unique talent for whom no detail was trivial, at grips with a city diving headlong into modernity.

     Martin Stone returns to the city from which his family was driven in 1938. He has concealed his destination from his father, and hopes to win some form of restitution for the depressed old man living in exile in London. THE LOST EUROPEANS portrays a tense, ruined yet flourishing Berlin where nothing is quite what it seems.

    Combining the suspense and atmosphere of Alan Furst’s spy novels with the exciting narrative drive of Daniel Silva’s Gabriel Allon adventures, John delivers an unforgettable masterwork of thrilling suspense set against the backdrop of one of the most monumental summers in history—a contest of champions, including the remarkable Jesse Owens, that captivated the world as the shadow of Nazi Germany continued to spread across the globe.

    Its architecture is not more impressive than that of Rome or Paris; its museums do not hold more treasures than those in Barcelona or London. And yet, when citizens of “New York, Tel Aviv, or Rome ask me where I’m from and I mention the name Berlin,” writes Peter Schneider, “their eyes instantly light up.”Berlin Now is a longtime Berliner’s bright, bold, and digressive exploration of the heterogeneous allure of this vibrant city. Delving beneath the obvious answers—Berlin’s club scene, bolstered by the lack of a mandatory closing time; the artistic communities that thrive due to the relatively low (for now) cost of living—Schneider takes us on an insider’s tour of this rapidly metamorphosing metropolis, where high-class soirees are held at construction sites and enterprising individuals often accomplish more without public funding—assembling a makeshift club on the banks of the Spree River—than Berlin’s officials do.Schneider’s perceptive, witty investigations on everything from the insidious legacy of suspicion instilled by the East German secret police to the clashing attitudes toward work, food, and love held by former East and West Berliners have been sharply translated by Sophie Schlondorff. The result is a book so lively that readers will want to jump on a plane—just as soon as they’ve finished their adventures on the page.

    In this powerful historical narrative, Oxford historian Alexandra Richie follows Berlin from its Medieval foundation to the nation-building dreams of Frederick the Great and Bismarck. Most important, she concentrates on the city during the twentieth century's upheavals: the Weimar Republic's decadent capital; Hitler and Goebbels's fascist metropolis; the city divided by the Cold War. Published to international acclaim, Faust's Metropolis is history at its most enthralling. "Brilliant work . . . the material is all fascinating, and Richie is an excellent descriptive writer." - New York Review of Books "Thoroughgoing and engrossing" - Peter Gay, author of My German Question "Outstanding . . . brilliantly written" - Michael Howard, Times Literary Supplement "Magnificent . . . should be required reading for anyone with any curiosity about where Europe has been and where it is going" - Piers Paul Read, Sunday Telegraph "A compelling narrative" - Philadelphia Inquirer "Absorbing" - Wall Street Journal

    Two elderly sisters, One classic car, 7000 miles of arthritic adventure.

    In it he captures the Isherwood-like atmosphere of Nazi Germany while telling a satiric story about the rise to power of one man - a thinly veiled caricature of his own brother-in-law. The man is Hendrik Hofgen, a character actor who in his own life plays a bizarre part in the elite circle of the Third Reich. Hofgen is publicly a revolutionary, but secretly he is a man driven by an obsessive need for power and fame. Although he benefits from the prestige of being married to the daughter of an eminent politician, he endangers his rise in Nazi society by his compulsive involvement with ‘a black Venus.’ His brilliant success as Mephisto in FAUST brings him the support of the Führer’s prime minister, who appoints him head of the State Theater. His dreams are finally realized, but the story ends on a note of despair as Hofgen is forced to confront the emptiness of his life. Mann weaves his tale with amazing skill. The result is a fascinating novel of decadence and evil.Klaus Mann, the second child of Thomas Mann, was born in Munich in 1906. He began writing short stories and articles in 1924, and within a year was a theatrical critic for a Berlin newspaper. In 1925 both a volume of short stories and his first novel, THE PIOUS DANCE, were published. His sister, Erika, to whom he was very close, was in the cast of his first play, ANJA AND ESTHER. Mann left Germany in 1933 and lived in Amsterdam until 1936, during which time he became a Czechoslovakian citizen, having been deprived of his German citizenship by the Nazis. He moved to America in 1936, living in Princeton, New Jersey, and New York City. He became a U.S. citizen in 1943. He died at the age of forty-two in Cannes, France. Robin Smyth was a European correspondent for the London Observer.

    Glowingly reviewed, What I Saw introduces a new generation to the genius of this tortured author with its "nonstop brilliance, irresistible charm and continuing relevance" (Jeffrey Eugenides, New York Times Book Review). As if anticipating Christopher Isherwood, the book re-creates the tragicomic world of 1920s Berlin as seen by its greatest journalistic eyewitness. In 1920, Joseph Roth, the most renowned German correspondent of his age, arrived in Berlin, the capital of the Weimar Republic. He produced a series of impressionistic and political essays that influenced an entire generation of writers, including Thomas Mann, and a young Christopher Isherwood. Translated and collected here for the first time, these pieces record the violent social and political paroxysms that constantly threatened to undo the fragile democracy that was the Weimar Republic. Roth, like no other German writer of his time, ventured beyond Berlin's official veneer to the heart of the city, chronicling the lives of its forgotten inhabitants: the war cripples, the Jewish immigrants from the Pale, the criminals, the bathhouse denizens, and the nameless dead who filled the morgues. Warning early on of the dangers posed by the Nazis, Roth evoked a landscape of moral bankruptcy and debauched beauty—a memorable portrait of a city and a time of commingled hope and chaos. What I Saw, like no other existing work, records the violent social and political paroxysms that compromised and ultimately destroyed the precarious democracy that was the Weimar Republic.

    Franz Hessel was an observer par excellence of the increasingly hectic metropolis that was Berlin in the late 1920s. In Walking in Berlin, originally published in Germany in 1929, he captures the rhythm of Weimar-era Berlin, recording evidence of the seismic shifts shaking German culture at the time.Nearly all of the pieces take the form of a walk or outing, focusing either on a theme or part of the city, and many end at a theatre, cinema, or club. Hessel effortlessly weaves historical information into his observations, displaying his extensive knowledge of the city. Today, many years after the Nazi era and the postwar reconstruction that followed, the areas he visited are all still prominent and interesting. From the Alexanderplatz to Kreuzberg, his record of them has become priceless. Superbly written, and as fresh today as when it first appeared, this is a book to be savoured.