Alfred Kubin – illustratör

The Other Side tells of a dream kingdom which becomes a nightmare, of a journey to Pearl, a mysterious city created deep in Asia, which is also a journey to the depths of the subconcious, or as Kubin himself called it, 'a sort of Baedeker for those lands which are half known to us'.Written in 1908, and more or less half way between Meyrink and Kafka, it was greeted with wild enthusiasm by the artists and writers of the Expressionist generation. ' Expressionist illustrator Kubin wrote this fascinating curio, his only literary work in 1908. A town named Pearl, assembled and presided over by the aptly named Patera, is the setting for his hallucinatory vision of a society founded on instinct over reason. Culminating apocalyptically - plagues of insects, mountains of corpses and orgies in the street - it is worth reading for its dizzying surrealism alone. Though ostensibly a gothic macabre fantasy, it is tempting to read The Other Side as a satire on the reactionary, idealist utopianism evident in German thought in the early twentieth century, highly prescient in its gloom, given later developments. The language often suggests Nietsche. The inevitable collapse of Patera's creation is lent added horror by hindsight. Kubin's depiction of absurd bureaucracy is strongly reminiscent of Kafka's The Trial, and his flawed utopia, situated next to a settlement of supposed savages, brings to mind Huxley's Brave New World; it precedes both novels, and this superb new translation could demonstrate its influence on subsequent modern literature.'Kieron Pim in Time OutIt will appeal to fans of Mervyn Peake and readers who like the darkly decadent, the fantastic and the grotesque in their reading.

A philosophical fable from a great forgotten German fabulistBilled by its author--the pseudonymous Mynona (German for “anonymous” backward)--as “the most profound magical experiment since Nostradamus,” The Creator tells the tale of Gumprecht Weiss, an intellectual who has withdrawn from a life of libertinage to pursue his solitary philosophical ruminations. At first dreaming and then actually encountering an enticing young woman named Elvira, Weiss discovers that she has escaped the clutches of her uncle, the Baron, who has been using her as a guinea pig in his metaphysical experiments. But the Baron catches up with them and persuades Gumprecht and Elvira to come to his laboratory, to engage in an experiment to bridge the divide between waking consciousness and dream by entering a mirror engineered to bend and blend realities. Mynona’s philosophical fable was described by the legendary German publisher Kurt Wolff as “a station farther on the imaginative train of thought of Hoffmann, Villiers, Poe, etc.,” when it appeared in 1920, with illustrations by Alfred Kubin (included here). With this first English-language edition, Wakefield Press introduces the work of a great forgotten German fabulist.Mentioned in his day in the same breath as Kafka, Mynona, aka Salomo Friedlaender (1871–1946), was a perfectly functioning split personality: a serious philosopher by day (author of Friedrich Nietzsche: An Intellectual Biography and Kant for Children) and a literary absurdist by night, who composed black humored tales he called Grostesken. His friends and fans included Martin Buber, Walter Benjamin and Karl Kraus.