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'Fuelled with energy, drama and emotional weight, combined with a light touch and a fast-moving story. Grab it while you can' TIMES, Best Rediscovered Books'Acknowledged as Holland's finest novelist' GUARDIAN'Mulisch is a rarity ... an instinctively psychological novelist' JOHN UPDIKEIn the bitter final months of the Second World War, the body of a Dutch Nazi collaborator is found on the doorstep of an ordinary family home. The repercussions are complex and terrible: the family is killed and the house burned to the ground; only the twelve-year-old son, Anton, survives. Following Anton as he reckons with this trauma through his life, The Assault is a powerful excavation of resistance and the collateral damage wrought on innocent people in times of war.A runaway bestseller that sold 200,000 copies on first publication, this is a classic of Dutch literature from one of the greatest European writers of his time.With an introduction by Thomas Harding, author of Hanns and Rudolf

On a cold night in Holland two men meet and change each other's lives forever. Max Delius - a hedonistic, yet brilliant astronomer who loves fast cars, nice clothes and beautiful women - picks up Onno Quist, a cerebral chaotic philologist who cannot bear the ordinariness of everyday life. Despite their differences, they fast become great friends.And when they learn they were conceived on the same day, it is clear that their meeting is no coincidence. As the pair fall into and out of love with the same woman - Ada - so their lives become further intertwined. For all three are on a mysterious journey destined to shape human history. The Discovery of Heaven is internationally recognized as a masterpiece. Rich in philosophical, psychological, historical and theological enquiry, it is an extravagant, bold and satisfying novel of ideas.

The trial of Adolf Eichmann began in 1961 under a deceptively simple label, "criminal case 40/61." Hannah Arendt covered the trial for the New Yorker magazine and recorded her observations in Eichmann in Jerusalem: The Banality of Evil. Harry Mulisch was also assigned to cover the trial for a Dutch news weekly. Arendt would later say in her book's preface that Mulisch was one of the few people who shared her views on the character of Eichmann. At the time, Mulisch was a young and little-known writer; in the years since he has since emerged as an author of major international importance, celebrated for such novels as The Assault and The Discovery of Heaven. Mulisch modestly called his book on case 40/61 a report, and it is certainly that, as he gives firsthand accounts of the trial and its key players and scenes (the defendant's face strangely asymmetric and riddled by tics, his speech absurdly baroque). Eichmann's character comes out in his incessant bureaucratizing and calculating, as well as in his grandiose visions of himself as a Pontius Pilate-like innocent.As Mulisch intersperses his dispatches from Jerusalem with meditative accounts of a divided and ruined Berlin, an eerily rebuilt Warsaw, and a visit to the gas chambers of Auschwitz, Criminal Case 40/61, the Trial of Adolf Eichmann becomes as a disturbing and highly personal essay on the Nazi extermination of European Jews and on the human capacity to commit evil ever more efficiently in an age of technological advancement. Here presented with a foreword by Deborah Dwork and translated for the first time into English, Criminal Case 40/61 provides the reader with an unsettling portrait not only of Eichmann's character but also of technological precision and expertise. It is a landmark of Holocaust writing.

The Routledge Intermediate Dutch Reader has been specially designed for upper intermediate learners of Dutch and comprises a broad selection of graded readings.The readings are taken from a range of contemporary Dutch writing, from newspapers and magazines through to specialist journals and the internet. The texts have been specifically selected to ensure students receive maximum exposure to topics pertaining to Dutch language, culture and society, making this Reader an enjoyable and stimulating resource with a meaningful cultural context. Each reading is fully supported by: a general introduction a vocabulary list with example sentencesa number of text comprehension questions and extensive vocabulary exercises with model answers provided in the key a wide variety of speaking exercises relevant to the vocabulary and topic at handa number of internet research tasksa short list of suggested further reading. A full glossary of words, an overview of fixed word combinations and an outline of irregular verbs are also available as free downloads at http://www.routledge.com/books/details/9780415550086/Suitable for both class use and independent study, The Routledge Intermediate Dutch Reader is an essential tool for facilitating vocabulary learning and increasing reading proficiency.

The Routledge Intermediate Dutch Reader has been specially designed for upper intermediate learners of Dutch and comprises a broad selection of graded readings.The readings are taken from a range of contemporary Dutch writing, from newspapers and magazines through to specialist journals and the internet. The texts have been specifically selected to ensure students receive maximum exposure to topics pertaining to Dutch language, culture and society, making this Reader an enjoyable and stimulating resource with a meaningful cultural context. Each reading is fully supported by: a general introduction a vocabulary list with example sentencesa number of text comprehension questions and extensive vocabulary exercises with model answers provided in the key a wide variety of speaking exercises relevant to the vocabulary and topic at handa number of internet research tasksa short list of suggested further reading. A full glossary of words, an overview of fixed word combinations and an outline of irregular verbs are also available as free downloads at http://www.routledge.com/books/details/9780415550086/Suitable for both class use and independent study, The Routledge Intermediate Dutch Reader is an essential tool for facilitating vocabulary learning and increasing reading proficiency.

The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction contains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators' performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator's experience and at the same time impede their access to the perpetrator's consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

The Mind of the Holocaust Perpetrator in Fiction and Nonfiction examines texts that portray the inner experience of Holocaust perpetrators and thus transform them from archetypes of evil into complex psychological and moral subjects. Employing relevant methodological tools of narrative theory, Erin McGlothlin analyzes these unsettling depictions, which manifest a certain tension regarding the ethics of representation and identification. Such works, she asserts, endeavor to make transparent the mindset of their violent subjects, yet at the same time they also invariably contrive to obfuscate in part its disquieting character. The Mind of the Holocaust Perpetrator in Fiction and Nonfiction contains two parts. The first focuses on portraits of real-life perpetrators in nonfictional interviews and analyses from the 1960s and 1970s. These works provide a nuanced perspective on the mentality of the people who implemented the Holocaust via the interventional role of the interviewer or interpreter in the perpetrators' performances of self-disclosure. In part two, McGlothlin investigates more recent fictional texts that imagine the perspective of their invented perpetrator-narrators. Such works draw readers directly into the perpetrator's experience and at the same time impede their access to the perpetrator's consciousness by retarding their affective connection. Demonstrating that recent fiction featuring perpetrators as narrators employs strategies derived from earlier nonfictional portrayals, McGlothlin establishes not only a historical connection between these two groups of texts, whereby nonfictional engagement with real-life perpetrators gradually gives way to fictional exploration, but also a structural and aesthetic one. The book bespeaks new modes of engagement with ethically fraught questions raised by our increasing willingness to consider the events of the Holocaust from the perspective of the perpetrator. Students, scholars, and readers of Holocaust studies and literary criticism will appreciate this closer look at a historically taboo topic.

This book is a case study into the affective history of Holocaust drama offering a new perspective on the impact of The Diary of Anne Frank, the pivotal 1950s play that was a turning point in Holocaust consciousness. Despite its overwhelming success, criticism of the Broadway makeover has been harsh, suggesting that the alleged Americanization would not do justice to the violence of the Holocaust or Anne Frank’s budding Jewishness. This study revisits these issues by focusing on the play’s European appropriation delving into the emotional intensity with which the play was produced and received. The core of the exploration is a history of the Dutch staging in ethnographic detail, based on unique archival material such as correspondence with Otto Frank, prompt books, original tapes, blueprints of the set and oral history. The microhistory of the first Dutch performance of the stage adaptation of Anne Frank’s diary examines the staging in the context of the postwar hesitant development of publicly voiced Holocaust consciousness. Influenced by memory studies and affect theory, the emphasis is on the emotional impact of the drama on both the members of the cast and the audience and will be of great interest to students and scholars in theater and performance studies, memory studies, cultural history, Jewish studies, Holocaust studies and contemporary European history.

This book is a case study into the affective history of Holocaust drama offering a new perspective on the impact of The Diary of Anne Frank, the pivotal 1950s play that was a turning point in Holocaust consciousness. Despite its overwhelming success, criticism of the Broadway makeover has been harsh, suggesting that the alleged Americanization would not do justice to the violence of the Holocaust or Anne Frank’s budding Jewishness. This study revisits these issues by focusing on the play’s European appropriation delving into the emotional intensity with which the play was produced and received. The core of the exploration is a history of the Dutch staging in ethnographic detail, based on unique archival material such as correspondence with Otto Frank, prompt books, original tapes, blueprints of the set and oral history. The microhistory of the first Dutch performance of the stage adaptation of Anne Frank’s diary examines the staging in the context of the postwar hesitant development of publicly voiced Holocaust consciousness. Influenced by memory studies and affect theory, the emphasis is on the emotional impact of the drama on both the members of the cast and the audience and will be of great interest to students and scholars in theater and performance studies, memory studies, cultural history, Jewish studies, Holocaust studies and contemporary European history.

"A lyrical 'book of days' . . . A bejewelled mosaic" Financial Times"Humane, insightful and deeply cultured" Times Literary SupplementThough a tireless explorer of distant cultures, for more than forty years Cees Nooteboom has also been returning to Menorca, "the island of the wind", and it is in his house there, with a study full of books and a garden taken over by cacti and many insects, that the 533 days of writing take place. The result is not a diary, nor a set of movements of the soul organised by dates, but "a book of days", with observations about what is immediately around him, his love for Menorca, his thoughts on the world, on life and death, on literature and oblivion. Every impression opens windows onto vast horizons: the Divine Comedy and the books it generated, the contempt of Borges for Gombrowicz, the death of David Bowie, the endless flight of the Voyagers, the repetition of history as a tragedy, but never as farce. 533 is a meditative rhapsody that would like to exclude the noise of current events, yet must return to them several times, and sceptically contemplates the threat of a disintegrating Europe. Reading this book is like having an extraordinary conversation with an extraordinary mind."The very first pages are so powerful that you suspect the author must have binned the preceding pages that were needed to climb to such heights" De Volkskrant"The 533 days captivate in their undisguised openness to the world" Süddeutsche ZeitungPhotographs by Simone Sassen * Translated from the Dutch by Laura Watkinson