Set during the winter of 1946–47, one of the coldest on record, Pavel & I unfolds against the tattered social fabric of postwar Berlin. Pavel Richter, a decommissioned GI, finds himself at odds with a rogue colonel in the British Armed Forces and a Soviet general when an American friend deposits a dead Russian spy in his frozen apartment. The race to take possession of the dead spy’s quarry soon begins threatening Pavel’s friendship with a street orphan named Anders and his budding love for his upstairs neighbor, Sonia. As the action hurtles toward catastrophe, the hunt merges with one for the truth about the novel’s protagonist: Who exactly is Pavel Richter? Peopled with pimps, prostitutes, spies, and a gang of child thieves, Pavel & I explores the power of storytelling to wrest meaning from the wreckage of civilization. An electrifyingly suspenseful novel played out among the first salvos of the Cold War, Pavel & I is a literary debut that introduces a writer of brilliant imagination and virtuosity.

    

    The seven stories in this collection capture Bernhard’s distinct darkly comic voice and vision—often compared to Kafka and Musil—commenting on a corrupted world.            First published in German in 1967, these stories were written at the same time as Bernhard’s early novels Frost, Gargoyles, and The Lime Works, and they display the same obsessions, restlessness, and disarming mastery of language. Martin Chalmer’s outstanding translation, which renders the work in English for the first time, captures the essential personality of the work. The narrators of these stories lack the strength to do anything but listen and then write, the reader in turn becoming a captive listener, deciphering the traps laid by memory—and the mere words, the neverending words with which we try to pin it down. Words that are always close to driving the narrator crazy, but yet, as Bernhard writes “not completely crazy.” “Bernhard's glorious talent for bleak existential monologues is second only to Beckett's, and seems to have sprung up fully mature in his mesmerizing debut.”—From Publishers Weekly, on Frost  “The feeling grows that Thomas Bernhard is the most original, concentrated novelist writing in German. His connections . . . with the great constellation of Kafka, Musil, and Broch become ever clearer.” —George Steiner, Times Literary Supplement, on Gargoyles

    In his search to know this complete stranger, Andreas hopes to come to grips with his own identity crisis, stalled academic career, and failed relationship.But what kind of man was his father? A complicated portrait begins to emerge concerning Peter’s role in the German Democratic Republic before reunification. As Andreas struggles to find a chink in the wall of secrets and lies that obscures the real Peter Körber, he brings to light disturbing revelations that open fresh wounds and have devastating consequences.Gripping and profoundly moving, The Wall Between is a haunting novel of the harsh realities of living under a repressive regime, the price of blind allegiance to ideology, and the moral complexity of personal culpability.

    Now, centuries after, the remnant of a mega-city named Paradiso, is the only place on earth where humanity still thrives. When Jack Kryznan arrives at the outskirts with a mysterious device capable of bringing dead technology to life, his arrival sets off a power struggle that threatens to embroil the human settlers, bionic creatures known as Guardians and Paradiso herself. Jack and his companions will begin their journey of self-discovery through this living city even as the city itself strives to understand what it means to be alive.Collects issues 1 through 4.

    Here, Chris Harman unearths the history of the lost revolution in Germany, and reveals its lessons for the future struggles for a better world.

    The rocker settled in Berlin, where he would make his “Berlin Trilogy”—the albums Low, Heroes, and Lodger, which are now considered some of the most critically acclaimed and innovative of the late twentieth century. But Bowie’s time in Berlin was about more than producing new music. As Tobias Rüther describes in this fascinating tale of Bowie’s Berlin years, the musician traveled to West Berlin—the capital of his childhood dreams and the city of Expressionism—to repair his body and mind from the devastation of drug addiction, delusions, and mania.             Painting a vivid picture of Bowie’s life in the Schöneberg area of the city, Rüther describes the artist’s friendships and collaborations with his roommate, Iggy Pop, as well as Brian Eno and Tony Visconti. Rüther illustrates Bowie’s return to painting, days cycling to the Die Brücke museum, and his exploration of the city’s nightlife, both the wild side and the gay scene. In West Berlin, Bowie also met singer and actress Romy Haag; came to know Hansa Studios, where he would record Low and Heroes; and even landed the part of a Prussian aristocrat in Just a Gigolo, starring alongside Marlene Dietrich. Eventually Rüther uses Bowie and his explorations of the cultural and historical undercurrents of West Berlin to examine the city itself: divided, caught in the Cold War, and how it began to redefine itself as a cultural metropolis, turning to the arts to start a new history. Tying in with an exhibition at the Museum of Contemporary Art, Chicago, in September, 2014, Heroes tells the fascinating story of how the music of the future arose from the spirit of the past. It is an unforgettable look at one of the world’s most renowned musicians in one of its most inspiring cities.

    He tells how the Russians were rapidly advancing in the east, while the Americans and British, after a brief pause, were primed to thrust into Germany from the west.

    Eric Weitz has written the authoritative history that this fascinating and complex period deserves, and he illuminates the uniquely progressive achievements and even greater promise of the Weimar Republic. Weitz reveals how Germans rose from the turbulence and defeat of World War I and revolution to forge democratic institutions and make Berlin a world capital of avant-garde art. He explores the period’s groundbreaking cultural creativity, from architecture and theater, to the new field of "sexology"—and presents richly detailed portraits of some of the Weimar’s greatest figures. Weimar Germany also shows that beneath this glossy veneer lay political turmoil that ultimately led to the demise of the republic and the rise of the radical Right. Yet for decades after, the Weimar period continued to powerfully influence contemporary art, urban design, and intellectual life—from Tokyo to Ankara, and Brasilia to New York. Featuring a new preface, this comprehensive and compelling book demonstrates why Weimar is an example of all that is liberating and all that can go wrong in a democracy.

    Immediately, America, Britain, Soviet Russia, and France set about rebuilding in their zones of occupation. Most urgent were physical needs--food, water, and sanitation--but from the start the Allies were also anxious to indoctrinate the German people in the ideas of peace and civilization.Denazification and reeducation would be key to future peace, and the arts were crucial guides to alternative, less militaristic ways of life. In an extraordinary extension of diplomacy, over the next four years, many writers, artists, actors, and filmmakers were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W. H. Auden, Stephen Spender, Billy Wilder, and others undertook the challenge of reconfiguring German society. In the end, many of them became disillusioned by the contrast between the destruction they were witnessing and the cool politics of reconstruction.While they may have had less effect on Germany than Germany had on them, the experiences of these celebrated figures, never before told, offer an entirely fresh view of post-war Europe. The Bitter Taste of Victory is a brilliant and important addition to the literature of World War II.

    The volumes have forewords by internationally known writers and introductions by prominent scholars. Here the English-speaking reader can find the broadest possible collection of poetic and intellectual achievements in new as well as great classic translations. Convenient and accessible in format, the volumes of The German Library will form the core of any growing library of European literature for years to come.

    This is a record of long journeys on foot, from Hackney to Chingford and down to the river, around the City in its ring of steel, and through the heart of Westminster, Lambeth and Millbank.

    . . . Jardine takes a complex view, according Hooke with the respect and dignity that eluded him for so long. . . [and] with this compelling and empathetic portrait, she succeeds in making a convincing case for his place in history. . . [as] a founding father in Europe’s scientific revolution.”   — Los Angeles TimesThe brilliant, largely forgotten maverick Robert Hooke was an engineer, surveyor, architect, and inventor who worked tirelessly with his intimate friend Christopher Wren to rebuild London after the Great Fire of 1666. He was the first Curator of Experiments at the Royal Society, and his engravings of natural phenomena seen under the new microscope appeared in his masterpiece, the acclaimed Micrographia, one of the most influential volumes of the day.But Hooke's irascible temper and his passionate idealism proved fatal for his relationships with important political figures, most notably Sir Isaac Newton: their quarrel is legendary. As a result, historical greatness eluded Robert Hooke. Eminent historian Lisa Jardine does this original thinker of indefatigable curiosity and imagination justice and allows him to take his place as a major figure in the seventeenth century intellectual and scientific revolution.

    It is the story of Herr Seldersen—a Jewish store owner modeled on Keilson's father, a textile merchant and decorated World War I veteran—along with his wife and son, Albrecht, and the troubles they encounter as the German economy collapses and politics turn rancid.The book was banned by the Nazis in 1934. Shortly afterward, following his editor's advice, Keilson emigrated to the Netherlands, where he would spend the rest of his life.Life Goes On is an essential volume for readers of Keilson's later work. At the age of one hundred, with his one copy of the first edition of Life Goes On in hand, Keilson told The New York Times that he would love to see his first novel reissued, and translated as well. "Then you would have my whole biography," he told them. He died at the age of one hundred and one.

    In a series of sharply etched scenes, he portrays the languages and cultures of the people who fill its bazaars, cafes, and streets. The book presents vivid images of daily life: the storytellers in the Djema el Fna, the armies of beggars ready to set upon the unwary, and the rituals of Moroccan family life. This is Marrakesh -described by one of Europe’s major literary intellects in an account lauded as "cosmopolitan in the tradition of Goethe" by the New York Times. "A unique travel book," according to John Bayley of the London Review of Books.