The work of poet Georg Trakl, a leading Austrian-German expressionist, has been praised by many, including his contemporaries Rainer Maria Rilke and Else Lasker-Schuler, as well as his patron Ludwig Wittgenstein. Wittgenstein famously wrote that while he did not truly understand Trakl's poems, they had the tone of a "truly ingenious person," which pleased him.A Skeleton Plays Violin comprises the final volume in a trilogy of works by Trakl published by Seagull Books. This selection gathers Trakl's early, middle, and late work, none of it published in book form during his lifetime. The work here ranges widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front. Book Three of Our Trakl the series that began with Trakl's first book Poems and his posthumously published Sebastian Dreaming also includes translations of unpublished poems and significant variants.Interpolated throughout this comprehensive and chronological selection is a biographical essay that provides more information about Trakl's gifted and troubled life, especially as it relates to his poetry, as well as the necessary context of his relationship with his favorite sibling, his sister Grete, whose role as a muse to her brother is still highly controversial. Trakl's life was mysterious and fascinating, a fact reflected in his work. A Skeleton Plays Violin should not be missed.

The inner workings of the European Union are as much a mystery to those living within its confines as they are to those of us who reside elsewhere. The Brussels bureaucracy that sets many of the EU's policies feels remote to its citizens, yet the influence of its decisions can extend worldwide. In this timely and insightful essay, Hans Magnus Enzensberger attempts to make sense of the EU's present political and economic roles and examine the EU's origins and inherent contradictions. In Enzensberger's view, Europe is involved in a project without precedent - the first non-violent form of post-democratic governance, which is trying to abolish the diversity of Europe and impose a regime that is not accountable to its citizens. Its often bizarre and arbitrary rules amount to a soft but relentless guardianship, dictating how half a billion people should live their lives regardless of their own political opinions and traditions. Enzensberger here offers a strategy for approaching this modern monster - at once gentle and giant, friend and foe.

Almost twenty years after the fall of the wall, the Kreuzberg district of Berlin has become unbearably trendy and deeply unappealing to Alina and Wolf. They move to Muggelsee, at the city's bucolic border, where the differences between East and West have not yet faded and strange encounters with men from the vanished republic are still a part of daily life. But there, Wolf finds himself increasingly strained by the triviality of his daily routine with Alina. The monotony of life in their comfortable apartment gives way, however, when an old girlfriend surfaces and Wolf escapes his boredom into a torrid affair. As Wolf's struggle with his infidelity grows, so grows the hell of his concealment. Called "a grand master of his craft" by Neue Zurcher Zeitung, and "among the best and brightest that contemporary German literature has to offer" by Fuldaer Zeitung, Ralf Rothmann is one of Germany's most gifted writers. "Fire Doesn't Burn" is a dark recasting of the delicate reunification of East and West as a chronicle of erotic desire and an extraordinary rediscovery of emotion and place.

One should always only adhere to what he doesn't say. Any new book by poet, essayist, writer, and translator Hans Magnus Enzensberger, one of the world's most influential and internationally renowned German intellectuals, is cause for notice and reflection, and Mr. Zed's Reflections is no exception. Every afternoon for almost a year, a plump man named Mr. Zed comes to the same spot in the city park and engages passers-by with these quick-witted repartees. Those who pass ask, who is this man? A wisecracker, a clown, a belligerent philosopher? Many shake their heads and move on; others listen to him, engage with him, and, again and again, end up at the same place. He doesn't write anything down but his listeners often take notes. With predilection, subversive energy and masterful brevity, Mr. Zed undermines arrogance, megalomania, and false authority. A determined speaker, who doesn't care for ambitions, he forces topics that others would rather keep to themselves. Reluctant to trust institutions and seeing absolutely nothing as "non-negotiable", he admits mistakes and does away with judgment. He is no mere ventriloquist of his creator - he is too stubborn for that.And at the end of the season, when it becomes too cold and uncomfortable in the park, he disappears, never to be seen again. Collected here in this thought-provoking and unique work are the considerations and provocations of this squat, park-bench philosopher, giving us a volume of truths and conversations that are clear-cut, skeptical, and fiercely illuminating.

Werner BrA unig was once regarded as the great hope of East German literature-until an extract from Rummelplatz was read before the East German censorship authorities in 1965, and fierce opposition summarily sealed its fate. The novel's sin? It painted an all too accurate picture of East German society. Rummelplatz, translated here by Samuel P. Willcocks, focuses on a notorious East German uranium mine, run by the Soviets and supplying the brotherland's nuclear program. Veterans, fortune seekers, and outsiders with tenuous family ties like narrator Peter Loose flock to the well-paying mine, but soon find their new lives bleak. Safety provisions are almost nonexistent and tools are not adequately supplied. The only outlets for workers are the bars and fairgrounds where copious amounts of alcohol are consumed and brawls quickly ensue. In Rummelplatz, BrA unig paints his characters as intrinsically human and treats the death of each worker, no matter how poor, as a great tragedy. BrA unig occupies a cultlike status in Germany, and this new translation of his masterpiece is an excellent introduction for English-language readers.Praise for the German edition "One of the best novels of postwar Germany...The narrative force and the emotional punch are sensational."-Die Zeit "An event in literary history and one 'helluva' novel."-Der Spiegel

On October 5, 2012, the German national newspaper Die Welt published its daily issue—but things looked . . . different. Quieter. The sensations of the day, forgotten as soon as they’re read, were missing, replaced with an unprecedented calm, extracted with care from the chaos of the contemporary.That calm was the work of Gerhard Richter, who had been granted control over Die Welt for that single day, taking over and imprinting all thirty pages of the newspaper with his personal stamp: images from quiet moments amid unquiet times, the demotion of politics from its primary position, the privileging of the private and personal over the public, and, above all, artful, moving contrasts between sharpness and softness. He had created an unprecedented work of mass art.Among the many people to praise the work was writer Alexander Kluge, who instantly began writing stories to accompany Richter’s images. This book, the second collaboration between Kluge and Richter, brings their stories and images together, along with new words and artworks created specifically for this volume. The result, Dispatches from Moments of Calm, is a beautiful, meditative interval in the otherwise unremitting press of everyday life, a masterpiece by two acclaimed artists working at the height of their powers.

The second book in Seagull’s ambitious series of Georg Trakl’s works, Sebastian Dreaming was the second, and final, collection prepared for publication by Trakl himself. Published after his death, it was perhaps even tied to it: forced into a military hospital by the psychological trauma of his World War I experiences, the Austrian poet requested that his publisher send him proofs of the book. He waited a week, and then overdosed on cocaine.A century later, the book appears for the first time in English. While a number of its poems have been included in other collections, translator James Reidel argues that this particular book deserves to stand on its own and be read as one piece, as Trakl intended. Only by doing this can we begin to see Trakl in his proper time and place, as an early modern poet whose words nonetheless continue to exert a powerful hold on us while we make our way through a new, uncharted century.

A big, ambitious, over-the-top masterpiece that was hailed an immediate classic upon first publication in German.Set in the East Friesia region of Germany in the mid-1970s, Against the World tells the story of Daniel Kuper, the nominal heir to a drugstore dynasty, and his struggle to free himself from the petty suspicions and violence of small-town life. A delicate, secretive boy with too much imagination and too few opportunities, he becomes the target of outrage and fear when strange phenomena convulse the town: snowfall in summer, inexplicable corn circles, a boy dead under the wheels of a train, swastikas crudely daubed on walls. Fingers point and they single out Kuper. The more he tries to prove his innocence, the more fierce the accusations are until his only option is open war against the village and its inhabitants.An unforgettable debut, Against the World is an epic account of growing up an outsider, and the pain, violence, and betrayal that accompany exclusion.

One night, German philosopher Hans Blumenberg returns to his study to find a shocking sight a lion lying on the floor as if it's the most natural thing in the world. The lion stretches comfortably on the Turkmen rug, eyes resting comfortably on Blumenberg. The philosopher with some effort retains his composure, even when the next day during his lecture the lion makes another appearance, ambling slowly down the center aisle. Blumenberg glances around; the seats are full, but none of his students seem to see the lion. What is going on here?Blumenberg is the captivating and witty fictional tale of this likable philosopher and the handful of students who come under the spell of the supernatural lion including skinny Gerhard Optatus Baur, a promising young Blumenbergian, and the delicate, haughty Isa, who falls head over heels in love with the wrong man. Written by Sibylle Lewitscharoff, whom Die Welt called the "most dazzling stylist of contemporary German literature," Blumenberg will delight English readers for the first time.

Hans Magnus Enzensberger, widely regarded as Germany's greatest living poet, was already well known in the 1960s, the tempestuous decade of which Tumult is an autobiographical record. Derived from old papers, notes, jottings, photos, and letters that the poet stumbled upon years later in his attic, the volume is not so much about the man, but rather the many places he visited and people whom he met on his travels through the Soviet Union and Cuba during the 1960s. The book is made up of four longform pieces written from 1963 to 1970, each episode concluding with a poem and postscript written in 2014. Tumult is based on Enzensberger's personal experience as a left-wing sympathizer during that tumultuous decade and focuses on political events and their participants. Translated by Mike Mitchell, the book is a lively and deftly written travelogue offering a glimpse into the history of leftist thought. Dedicated to "those who disappeared," Tumult is a document of that which remains one of humanity's headiest times. "Enzensberger is the most important postwar writer you have never read." London Review of Books

Winner of the 2015 Arno Reinfrank Literaturpreis"Ruven Preuk stands apart from the village, on an August day in 1911, and listens." Thus begins an epic bildungsroman about the life of Ruven Preuk, son of the wainwright, child of a sleepy village in Germany's north, where life is both simple and harsh. Ruven, though, is neither. He has the ability to see sounds, leading him to discover an uncanny gift for the violin. When he meets a talented teacher in the city's Jewish quarter, Ruven falls under the spell of a prodigious future. But as the twentieth century looms, Ruven's pursuit of his craft takes a turn. In The Last Country, Svenja Leiber spins a tale that moves from the mansions of a disappearing aristocracy to a communist rebellion, from a joyous village wedding to a Nazi official's threats, from the First World War to the Second. As the world Ruven knows disappears, the gifted musician must grapple with an important question: to what end has he devoted himself to his art?

At the Burning Abyss is Franz Fuhmann's magnum opus a gripping and profoundly personal encounter with the great expressionist poet Georg Trakl. It is a taking stock of two troubled lives, a turbulent century, and the liberating power of poetry. Picking up where his last book, The Jew Car, left off, Fuhmann probes his own susceptibility to ideology's seductions Nazism, then socialism and examines their antidote, the goad of Trakl's enigmatic verses. He confronts Trakl's "unlivable life," as his poetry transcends the panaceas of black-and-white ideology, ultimately bringing a painful, necessary understanding of "the whole human being: in victories and triumphs as in distress and defeat, in temptation and obsession, in splendor and in ordure." In 1982, the German edition of At the Burning Abyss won the West German Scholl Siblings Prize, celebrating its "courage to resist inhumanity." At a time of political extremism and polarization, has lost none of its urgency.

In the historic tradition of calendar stories and calendar illustrations, author and film director Alexander Kluge and celebrated visual artist Gerhard Richter have composed December, a collection of thirty-nine stories and thirty-nine snow-swept photographs for the darkest month of the year.

Few writers have ever experienced such a steady rise in their reputation and public profile as Swiss writer Robert Walser (1878-1956) has seen in recent years. As more of his previously little known work has been translated into English, readers have discovered a unique writer whose off-kilter sensibility and innovations in form are perfectly suited to our fragmented, distracted, bewildered era. This book brings English-language readers work by Walser in yet another form: dramolette. The short plays presented here, inspired by the German theater Walser enjoyed in his youth, while never meant to be performed, present scenes, characters, and situations that comment on the brutality of fairy tales, the impossibilities of love, the dark fate of the Christ child (and Walser himself), and more. At the same time, like all of Walser's work they are shot through with a humor that is wholly genuine despite its shades of darkness. Gathering all of Walser's plays, as well as his later, fragmentary dramatic writings, Comedies will be celebrated by the many devoted fans of this lately rediscovered master.

From the 1920s through the 1950s, Bertolt Brecht wrote a number of short, fictionalized comments on contemporary life, politics, and thought. Through the dramatic events of the first half of the twentieth century, Brecht's Mr. Keuner offered up aphorisms, stray thoughts, and fragments of anecdote that punctured contemporary self-regard about religion, politics, business, and more. Deceptively light in tone, and bite-size in presentation, Mr. Keuner's comments bring Brecht's lacerating wit to bear on a wide range of the half-truths and public lies of his era. This graphic novel adaptation sets a number of Brecht's Mr. Keuner pieces, newly translated, alongside cartoons by German artist Ulf K., whose spare, abstract style lends force to the underlying meanings of Keuner's pronouncements.

Austrian poet and playwright Ernst Jandl died in 2000, leaving behind his partner, poet Friederike Mayrocker and bringing to an end a half century of shared life, and shared literary work. Mayrocker immediately began attempting to come to terms with his death in the way that poets struggling with loss have done for millennia: by writing. Requiem for Ernst Jandl is the powerfully moving outcome. In this quiet but passionate lament that grows into a song of enthralling intensity, Mayrocker recalls memories and shared experiences, and with the sudden, piercing perception of regrets that often accompany grief reads Jandl's works in a new light. Alarmed by a sudden, existential emptiness, she reflects on the future, and the possibility of going on with her life and work in the absence of the person who, as we see in this elegy, was a constant conversational and creative partner.

I now no longer use the better words. Ilse Aichinger (1921-2016) was one of the most important writers of postwar Austrian and German literature. Born in 1921 to a Jewish mother, she survived World War II in Vienna, while her twin sister Helga escaped with one of the last Kindertransporte to England in 1938. Many of their relatives were deported and murdered. Those losses make themselves felt throughout Aichinger's writing, which since her first and only novel, The Greater Hope, in 1948, has highlighted displacement, estrangement, and a sharp skepticism toward language. By 1976, when she published Bad Words in German, her writing had become powerfully poetic, dense, and experimental. This volume presents the whole of the original Bad Words in English for the first time, along with a selection of Aichinger's other short stories of the period; together, they demonstrate her courageous effort to create and deploy a language unmarred by misleading certainties, preconceived rules, or implicit ideologies. In the following decades Aichinger's work became increasingly dense, poetic, and experimential, culminating in the iconic Schlechte Worter (Bad Words) in 1976.This entire volume, along with a selection of short stories from previous books in this period, is presented here for the first time in English translation. Any false promise of a coherent, masterful world (with its insistence of "better words") is left behind. Instead, we have "bad words" minor everyday objects and the freedom that comes with vigilant and playful disobedience.

After years on the job, police detective Jakob Franck has retired. Finally, the dead with all their mysteries will no longer have any claim on him. Or so he thinks. On a cold autumn afternoon, a case he thought he'd long put behind him returns to his life and turns it upside down. The Nameless Day tells the story of that twenty-year-old case, which began with Franck carrying the news of the suicide of a seventeen-year-old girl to her mother, and holding her for seven hours as, in her grief, she said not a single word. Now her father has appeared, swearing to Franck that his daughter was murdered. Can Franck follow the cold trail of evidence two decades later to see whether he's telling the truth? Could he live with himself if he didn't? A psychological crime novel certain to thrill fans of Henning Mankell and Jo Nesbo, The Nameless Day is a masterpiece, a tightly plotted story of contemporary alienation, loss, and violence.

Two men talk in Tokyo. One, a Belgian, is a diplomat. The other, Dutch, is a photographer. What, they wonder, is the real face of Japan? How can they get beyond the European idea of the nation and its people with its exoticism and see Japan as it truly is? The Belgian has an idea: he helps the photographer find a model to shoot in front of Mount Fuji as the "typical Japanese." The plan works better than either had imagined in fact, it works too well: the photographer falls in love, neglects his friend and his career, and, feeling out of place and disillusioned in Holland, returns to Japan as often as possible over the next five years. A reunion is planned: the three will meet again at Mount Fuji. Time, it seems, has stood still ...except the woman has a secret, and plans of her own. This moving novel of obsession and difference is the latest masterwork from one of the greatest European writers working today, redolent with the power of desire and alive to the limits of our understanding of others.

Hans Magnus Enzensberger takes the title for this collection of daring short essays on topical themes politics, economics, religion, society not from Jeremy Bentham's famous prison but from a mid-1930s Cabinet of Curiosities opened in Germany by Karl Valentin. "There," writes Enzensberger, "viewers could admire, along with implements of torture, all manner of abnormalities and sensational inventions." And that's what he offers here: a wide-ranging, surprising look at all manner of strange aspects of our contemporary world. As masterly with the essay as he is with fiction and poetry, Enzensberger here presents complicated thoughts with a light touch, tying new iterations of old ideas to their antecedents, quoting liberally from his forebears, and presenting himself unapologetically as not an expert but a seeker. Enzensberger the essayist works in the mode of Montaigne, unafraid to take his reader in unexpected directions, knowing that the process of exploration is often in itself sufficient reward for following a line of thought. ?In an era that regularly laments the death of the public intellectual, Enzensberger is the real deal: a towering figure in German literature who refuses to let his mind or work be bound by the narrow world of the poetry or fiction section.Panopticon will thrill readers daring enough to accompany him.

Described as an answer to or at least an echo of Samuel Beckett's Krapp's Last Tape?, Till Day You Do Part Or A Question of Light, by esteemed Austrian playwright and novelist Peter Handke, is a monologue delivered by the "she" in Beckett's play. This unnamed female similarly recalls other significant women protagonists in Handke's own work such as The Lefthanded Woman. Handke prefaces the monologue in Till Day You Do PartOr a Question of Light with a description of two stone figures. While the male figure remains "as dead and gone as anyone can," the female bursts into life, and her monologue gradually focuses on Krapp's use of pauses and language to dominate the other characters in the Beckett play. Ultimately, however, her complaints and critique of Krapp become a declaration of her love for Krapp or at least an affirmation of their attachment, as the two of them are ultimately bound together, perhaps even inseparable. Till Day You Do Part Or a Question of Light is Handke at his best, evidencing the great skill, psychological acumen, and vision for which his work has been celebrated.

Austrian writer Ingeborg Bachmann (1926-73) is recognized as one of the most important novelists, poets, and playwrights of postwar German literature. As befitting such a versatile writer, her War Diary is not a day-by-day journal but a series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria. These articulate and powerful entries--ll the more remarkable taking into account Bachmann's young age at the time--reveal the eighteen-year-old's hatred of both war and Nazism as she avoids the fanatics' determination to "defend Klagenfurt to the last man and the last woman." The British occupation leads to her incredible meeting with a British officer, Jack Hamesh, a Jew who had originally fled Vienna for England in 1938. He is astonished to find in Austria a young girl who has read banned authors such as Mann, Schnitzler, and Hofmannsthal. Their relationship is captured here in the emotional and moving letters Hamesh writes to Bachmann when he travels to Israel in 1946. In his correspondence, he describes how in his new home of Israel, he still suffers from the rootlessness affecting so many of those who lost parents, family, friends, and homes in the war. War Diary provides unusual insight into the formation of Bachmann as a writer and will be cherished by the many fans of her work. But it is also a poignant glimpse into life in Austria in the immediate aftermath of the war, and the reflections of both Bachmann and Hamesh speak to a significant and larger story beyond their personal experiences.

Thousands upon thousands of books have been written about Immanuel Kant since his death. None, let’s be clear, have been quite like what we have here. In Party Fun with Kant, Nicolas Mahler tells the story of Kant—and his fellow serious-minded figures from the history of philosophy—with a comic edge. With his witty visual style and clever wordplay, he delves into their lives and emerges with hitherto unknown scenes that show them in a new (and far less serious) light. We go to parties with Kant, visit an art exhibition with Hegel, shop at the supermarket with Nietzsche, and go to the cinema with Deleuze, and celebrate the dream wedding with de Beauvoir. In each case, we come away knowing more about the life, thoughts, and feelings of the philosopher—getting to know them as people rather than as stony-faced figures long since robbed of any existence beyond their ideas. The result is pure fun, but with plenty of insight, too.

Now in paperback, Katharina Winkler’s heartbreaking saga of a tenacious woman trapped in an abusive marriage.Blue jewelry is private property. Not to be seen. Not to be talked about. It is worn like a bracelet around the wrists, on ribs, legs, arms. Blue jewelry is another name for the marks left on women’s bodies, inflicted by the men around them.  This novel tells the story of Filiz and Yunus. When Filiz meets Yunus, he is young and beautiful, and Filiz is proud that he wants her. Against her father’s wishes, they marry when she is thirteen. Yunus is her entire universe, all encompassing, all powerful. Soon after the wedding, Filiz’s dream of living in the West with her husband, of escaping their small village in Anatolia for freedom and autonomy, comes crashing down around her. Yunus, only a few years older than his bride, turns their marriage into a prison of dependency and violence. Trapped in her mother-in-law’s house, Filiz is subjected to physical and mental abuse, forced to veil herself, and treated as a house slave. When she becomes pregnant, Filiz seems to have reached her breaking point. But she endures. When Yunus moves his young family first to Istanbul and then to Austria, the life he had once promised her seems to be within reach. But there is no escaping the spiral of violence and love, which, to Filiz, have become inseparable.  Katharina Winkler’s powerful story of a marriage dominated by violence gives voice to a tenacious young woman whose will to survive is never broken.

Christa Wolf tried for years to find a way to write about her childhood in Nazi Germany. In her 1976 book Patterns of Childhood, she explained why it was so difficult: "Gradually, over a period of months, the dilemma has emerged: to remain speechless or to live in the third person, these seem to be the options. One is impossible, the other sinister." During 1971 and 1972 she made thirty-three attempts to start the novel, abandoning each manuscript only pages in. Eulogy for the Living, written over the course of four weeks, is the longest of those fragments. In its pages, Wolf recalls with crystalline precision the everyday details of her life as a middle-class grocer's daughter, and the struggles within the family--struggles common to most families, but exacerbated by the rise of Nazism. And as Nazism fell, the Wolfs fled west, trying to stay ahead of the rampaging Red Army. Though Wolf abandoned this account, it stands, in fragmentary form, as a testament to her skill as a thinker, storyteller, and memorializer of humanity's greatest struggles.

Breviaries, books of standard religious readings for particular denominations, are a familiar genre with a long pedigree. But you’ve definitely never seen a breviary like this one. The Sex of the Angels is a playful, often ironic take on the breviary in the form of a collection of letters that begins by taking up early Christian cosmology and follows the Biblical mutations of the angel from Babylon to the present day. As it goes along, Raoul Schrott also weaves in a history which ranges from ancient Greek legends of the origin of light to the medieval darkness of the eclipse. But there is more going on here than meets the eye: the letters are addressed to an unnamed “other” and chart the course of an elusive affair. They are, we come to realize, a declaration of love—or, more accurately, of yearning—but also a far-reaching poetic essay which moves between etymological history, anthropological anecdote, philosophy, and disquisition on the nature of art. The text is supplemented by sumptuous illustrations by Arnold Mario Dall’O that chart the stories of the saints, and the result is a unique dialogue between literature and art: an extraordinary and rare book about love.

The poems of Ulrike Almut Sandig are at once simple and fantastic. This new collection finds her on her way to imaginary territories. Thick of It charts a journey through two hemispheres to "the center of the world" and navigates a "thicket" that is at once the world, the psyche, and language itself. The poems explore an urgently urban reality, but that reality is interwoven with references to nightmares, the Bible, fairy tales, and nursery rhymes--all overlaid with a finely tuned longing for a disappearing world. The old names are forgotten, identities fall away; things disappear from the kitchen; everything is sliding away. Powerful themes emerge, but always mapped onto the local, the fractured individual in "the thick of it" all. This is language at its most crafted and transformative, blisteringly contemporary, but with a kind of austerity, too. By turns comic, ironic, skeptical, nostalgic, these poems are also profoundly musical, exploiting multiple meanings and stretching syntax, so that the audience is constantly kept guessing, surprised by the next turn in the line.

“His manner of speaking, like that of all the subordinated, excluded, was awkward, like a body full of wounds, into which at any time anyone can strew salt, yet so insistent, that it is painful to listen to him,” from The CarpenterThe Austrian playwright, novelist, and poet Thomas Bernhard (1931–89) is acknowledged as among the major writers of our time. 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 these 99 meditations, poet and novelist Hans Magnus Enzensberger celebrates the tenacity of the normal and routine in everyday life, where the survival of the objects we use without thinking—a pair of scissors, perhaps—is both a small, human victory and a quiet reminder of our own ephemeral nature. He sets his quotidian reflections against a broad historical and political backdrop: the cold war and its accompanying atomic threat; the German student revolt; would-be socialism in Cuba, China, and Africa; and World War II as experienced by the youthful poet.Enzensberger’s poems are conversational, skeptical, and serene; they culminate in the extended set of observations that gives the collection its title. Clouds, alien and yet symbols of human life, are for Enzensberger at once a central metaphor of the Western poetic tradition and “the most fleeting of all masterpieces.” “Cloud archaeology,” writes Enzensberger, is “a science for angels.”           Praise for the German edition“After reading this wonderful volume of poetry one would like to call Enzensberger simply the lyric voice of transience.”— Sueddeutsche Zeitung“With this book Enzensberger reveals himself both as a spokesman of persistence and as a decelerator.”—Neue Zuercher Zeitung

The work of poet Georg Trakl, a leading Austrian-German expressionist, has been praised by many, including his contemporaries Rainer Maria Rilke and Else Lasker-Schuler, as well as his patron Ludwig Wittgenstein. Wittgenstein famously wrote that while he did not truly understand Trakl's poems, they had the tone of a "truly ingenious person," which pleased him.A Skeleton Plays Violin comprises the final volume in a trilogy of works by Trakl published by Seagull Books. This selection gathers Trakl's early, middle, and late work, none of it published in book form during his lifetime. The work here ranges widely, from his haunting prose pieces to his darkly beautiful poems documenting the first bloody weeks of World War I on the Eastern Front. Book Three of Our Trakl the series that began with Trakl's first book Poems and his posthumously published Sebastian Dreaming also includes translations of unpublished poems and significant variants.Interpolated throughout this comprehensive and chronological selection is a biographical essay that provides more information about Trakl's gifted and troubled life, especially as it relates to his poetry, as well as the necessary context of his relationship with his favorite sibling, his sister Grete, whose role as a muse to her brother is still highly controversial. Trakl's life was mysterious and fascinating, a fact reflected in his work. A Skeleton Plays Violin should not be missed.

The inner workings of the European Union are as much a mystery to those living within its confines as they are to those of us who reside elsewhere. The Brussels bureaucracy that sets many of the EU's policies feels remote to its citizens, yet the influence of its decisions can extend worldwide. In this timely and insightful essay, Hans Magnus Enzensberger attempts to make sense of the EU's present political and economic roles and examine the EU's origins and inherent contradictions. In Enzensberger's view, Europe is involved in a project without precedent - the first non-violent form of post-democratic governance, which is trying to abolish the diversity of Europe and impose a regime that is not accountable to its citizens. Its often bizarre and arbitrary rules amount to a soft but relentless guardianship, dictating how half a billion people should live their lives regardless of their own political opinions and traditions. Enzensberger here offers a strategy for approaching this modern monster - at once gentle and giant, friend and foe.

Almost twenty years after the fall of the wall, the Kreuzberg district of Berlin has become unbearably trendy and deeply unappealing to Alina and Wolf. They move to Muggelsee, at the city's bucolic border, where the differences between East and West have not yet faded and strange encounters with men from the vanished republic are still a part of daily life. But there, Wolf finds himself increasingly strained by the triviality of his daily routine with Alina. The monotony of life in their comfortable apartment gives way, however, when an old girlfriend surfaces and Wolf escapes his boredom into a torrid affair. As Wolf's struggle with his infidelity grows, so grows the hell of his concealment. Called "a grand master of his craft" by Neue Zurcher Zeitung, and "among the best and brightest that contemporary German literature has to offer" by Fuldaer Zeitung, Ralf Rothmann is one of Germany's most gifted writers. "Fire Doesn't Burn" is a dark recasting of the delicate reunification of East and West as a chronicle of erotic desire and an extraordinary rediscovery of emotion and place.

One should always only adhere to what he doesn't say. Any new book by poet, essayist, writer, and translator Hans Magnus Enzensberger, one of the world's most influential and internationally renowned German intellectuals, is cause for notice and reflection, and Mr. Zed's Reflections is no exception. Every afternoon for almost a year, a plump man named Mr. Zed comes to the same spot in the city park and engages passers-by with these quick-witted repartees. Those who pass ask, who is this man? A wisecracker, a clown, a belligerent philosopher? Many shake their heads and move on; others listen to him, engage with him, and, again and again, end up at the same place. He doesn't write anything down but his listeners often take notes. With predilection, subversive energy and masterful brevity, Mr. Zed undermines arrogance, megalomania, and false authority. A determined speaker, who doesn't care for ambitions, he forces topics that others would rather keep to themselves. Reluctant to trust institutions and seeing absolutely nothing as "non-negotiable", he admits mistakes and does away with judgment. He is no mere ventriloquist of his creator - he is too stubborn for that.And at the end of the season, when it becomes too cold and uncomfortable in the park, he disappears, never to be seen again. Collected here in this thought-provoking and unique work are the considerations and provocations of this squat, park-bench philosopher, giving us a volume of truths and conversations that are clear-cut, skeptical, and fiercely illuminating.

Werner BrA unig was once regarded as the great hope of East German literature-until an extract from Rummelplatz was read before the East German censorship authorities in 1965, and fierce opposition summarily sealed its fate. The novel's sin? It painted an all too accurate picture of East German society. Rummelplatz, translated here by Samuel P. Willcocks, focuses on a notorious East German uranium mine, run by the Soviets and supplying the brotherland's nuclear program. Veterans, fortune seekers, and outsiders with tenuous family ties like narrator Peter Loose flock to the well-paying mine, but soon find their new lives bleak. Safety provisions are almost nonexistent and tools are not adequately supplied. The only outlets for workers are the bars and fairgrounds where copious amounts of alcohol are consumed and brawls quickly ensue. In Rummelplatz, BrA unig paints his characters as intrinsically human and treats the death of each worker, no matter how poor, as a great tragedy. BrA unig occupies a cultlike status in Germany, and this new translation of his masterpiece is an excellent introduction for English-language readers.Praise for the German edition "One of the best novels of postwar Germany...The narrative force and the emotional punch are sensational."-Die Zeit "An event in literary history and one 'helluva' novel."-Der Spiegel

On October 5, 2012, the German national newspaper Die Welt published its daily issue—but things looked . . . different. Quieter. The sensations of the day, forgotten as soon as they’re read, were missing, replaced with an unprecedented calm, extracted with care from the chaos of the contemporary.That calm was the work of Gerhard Richter, who had been granted control over Die Welt for that single day, taking over and imprinting all thirty pages of the newspaper with his personal stamp: images from quiet moments amid unquiet times, the demotion of politics from its primary position, the privileging of the private and personal over the public, and, above all, artful, moving contrasts between sharpness and softness. He had created an unprecedented work of mass art.Among the many people to praise the work was writer Alexander Kluge, who instantly began writing stories to accompany Richter’s images. This book, the second collaboration between Kluge and Richter, brings their stories and images together, along with new words and artworks created specifically for this volume. The result, Dispatches from Moments of Calm, is a beautiful, meditative interval in the otherwise unremitting press of everyday life, a masterpiece by two acclaimed artists working at the height of their powers.

The second book in Seagull’s ambitious series of Georg Trakl’s works, Sebastian Dreaming was the second, and final, collection prepared for publication by Trakl himself. Published after his death, it was perhaps even tied to it: forced into a military hospital by the psychological trauma of his World War I experiences, the Austrian poet requested that his publisher send him proofs of the book. He waited a week, and then overdosed on cocaine.A century later, the book appears for the first time in English. While a number of its poems have been included in other collections, translator James Reidel argues that this particular book deserves to stand on its own and be read as one piece, as Trakl intended. Only by doing this can we begin to see Trakl in his proper time and place, as an early modern poet whose words nonetheless continue to exert a powerful hold on us while we make our way through a new, uncharted century.

A big, ambitious, over-the-top masterpiece that was hailed an immediate classic upon first publication in German.Set in the East Friesia region of Germany in the mid-1970s, Against the World tells the story of Daniel Kuper, the nominal heir to a drugstore dynasty, and his struggle to free himself from the petty suspicions and violence of small-town life. A delicate, secretive boy with too much imagination and too few opportunities, he becomes the target of outrage and fear when strange phenomena convulse the town: snowfall in summer, inexplicable corn circles, a boy dead under the wheels of a train, swastikas crudely daubed on walls. Fingers point and they single out Kuper. The more he tries to prove his innocence, the more fierce the accusations are until his only option is open war against the village and its inhabitants.An unforgettable debut, Against the World is an epic account of growing up an outsider, and the pain, violence, and betrayal that accompany exclusion.

One night, German philosopher Hans Blumenberg returns to his study to find a shocking sight a lion lying on the floor as if it's the most natural thing in the world. The lion stretches comfortably on the Turkmen rug, eyes resting comfortably on Blumenberg. The philosopher with some effort retains his composure, even when the next day during his lecture the lion makes another appearance, ambling slowly down the center aisle. Blumenberg glances around; the seats are full, but none of his students seem to see the lion. What is going on here?Blumenberg is the captivating and witty fictional tale of this likable philosopher and the handful of students who come under the spell of the supernatural lion including skinny Gerhard Optatus Baur, a promising young Blumenbergian, and the delicate, haughty Isa, who falls head over heels in love with the wrong man. Written by Sibylle Lewitscharoff, whom Die Welt called the "most dazzling stylist of contemporary German literature," Blumenberg will delight English readers for the first time.

Hans Magnus Enzensberger, widely regarded as Germany's greatest living poet, was already well known in the 1960s, the tempestuous decade of which Tumult is an autobiographical record. Derived from old papers, notes, jottings, photos, and letters that the poet stumbled upon years later in his attic, the volume is not so much about the man, but rather the many places he visited and people whom he met on his travels through the Soviet Union and Cuba during the 1960s. The book is made up of four longform pieces written from 1963 to 1970, each episode concluding with a poem and postscript written in 2014. Tumult is based on Enzensberger's personal experience as a left-wing sympathizer during that tumultuous decade and focuses on political events and their participants. Translated by Mike Mitchell, the book is a lively and deftly written travelogue offering a glimpse into the history of leftist thought. Dedicated to "those who disappeared," Tumult is a document of that which remains one of humanity's headiest times. "Enzensberger is the most important postwar writer you have never read." London Review of Books

Winner of the 2015 Arno Reinfrank Literaturpreis"Ruven Preuk stands apart from the village, on an August day in 1911, and listens." Thus begins an epic bildungsroman about the life of Ruven Preuk, son of the wainwright, child of a sleepy village in Germany's north, where life is both simple and harsh. Ruven, though, is neither. He has the ability to see sounds, leading him to discover an uncanny gift for the violin. When he meets a talented teacher in the city's Jewish quarter, Ruven falls under the spell of a prodigious future. But as the twentieth century looms, Ruven's pursuit of his craft takes a turn. In The Last Country, Svenja Leiber spins a tale that moves from the mansions of a disappearing aristocracy to a communist rebellion, from a joyous village wedding to a Nazi official's threats, from the First World War to the Second. As the world Ruven knows disappears, the gifted musician must grapple with an important question: to what end has he devoted himself to his art?

At the Burning Abyss is Franz Fuhmann's magnum opus a gripping and profoundly personal encounter with the great expressionist poet Georg Trakl. It is a taking stock of two troubled lives, a turbulent century, and the liberating power of poetry. Picking up where his last book, The Jew Car, left off, Fuhmann probes his own susceptibility to ideology's seductions Nazism, then socialism and examines their antidote, the goad of Trakl's enigmatic verses. He confronts Trakl's "unlivable life," as his poetry transcends the panaceas of black-and-white ideology, ultimately bringing a painful, necessary understanding of "the whole human being: in victories and triumphs as in distress and defeat, in temptation and obsession, in splendor and in ordure." In 1982, the German edition of At the Burning Abyss won the West German Scholl Siblings Prize, celebrating its "courage to resist inhumanity." At a time of political extremism and polarization, has lost none of its urgency.

In the historic tradition of calendar stories and calendar illustrations, author and film director Alexander Kluge and celebrated visual artist Gerhard Richter have composed December, a collection of thirty-nine stories and thirty-nine snow-swept photographs for the darkest month of the year.

Few writers have ever experienced such a steady rise in their reputation and public profile as Swiss writer Robert Walser (1878-1956) has seen in recent years. As more of his previously little known work has been translated into English, readers have discovered a unique writer whose off-kilter sensibility and innovations in form are perfectly suited to our fragmented, distracted, bewildered era. This book brings English-language readers work by Walser in yet another form: dramolette. The short plays presented here, inspired by the German theater Walser enjoyed in his youth, while never meant to be performed, present scenes, characters, and situations that comment on the brutality of fairy tales, the impossibilities of love, the dark fate of the Christ child (and Walser himself), and more. At the same time, like all of Walser's work they are shot through with a humor that is wholly genuine despite its shades of darkness. Gathering all of Walser's plays, as well as his later, fragmentary dramatic writings, Comedies will be celebrated by the many devoted fans of this lately rediscovered master.

From the 1920s through the 1950s, Bertolt Brecht wrote a number of short, fictionalized comments on contemporary life, politics, and thought. Through the dramatic events of the first half of the twentieth century, Brecht's Mr. Keuner offered up aphorisms, stray thoughts, and fragments of anecdote that punctured contemporary self-regard about religion, politics, business, and more. Deceptively light in tone, and bite-size in presentation, Mr. Keuner's comments bring Brecht's lacerating wit to bear on a wide range of the half-truths and public lies of his era. This graphic novel adaptation sets a number of Brecht's Mr. Keuner pieces, newly translated, alongside cartoons by German artist Ulf K., whose spare, abstract style lends force to the underlying meanings of Keuner's pronouncements.

Austrian poet and playwright Ernst Jandl died in 2000, leaving behind his partner, poet Friederike Mayrocker and bringing to an end a half century of shared life, and shared literary work. Mayrocker immediately began attempting to come to terms with his death in the way that poets struggling with loss have done for millennia: by writing. Requiem for Ernst Jandl is the powerfully moving outcome. In this quiet but passionate lament that grows into a song of enthralling intensity, Mayrocker recalls memories and shared experiences, and with the sudden, piercing perception of regrets that often accompany grief reads Jandl's works in a new light. Alarmed by a sudden, existential emptiness, she reflects on the future, and the possibility of going on with her life and work in the absence of the person who, as we see in this elegy, was a constant conversational and creative partner.

I now no longer use the better words. Ilse Aichinger (1921-2016) was one of the most important writers of postwar Austrian and German literature. Born in 1921 to a Jewish mother, she survived World War II in Vienna, while her twin sister Helga escaped with one of the last Kindertransporte to England in 1938. Many of their relatives were deported and murdered. Those losses make themselves felt throughout Aichinger's writing, which since her first and only novel, The Greater Hope, in 1948, has highlighted displacement, estrangement, and a sharp skepticism toward language. By 1976, when she published Bad Words in German, her writing had become powerfully poetic, dense, and experimental. This volume presents the whole of the original Bad Words in English for the first time, along with a selection of Aichinger's other short stories of the period; together, they demonstrate her courageous effort to create and deploy a language unmarred by misleading certainties, preconceived rules, or implicit ideologies. In the following decades Aichinger's work became increasingly dense, poetic, and experimential, culminating in the iconic Schlechte Worter (Bad Words) in 1976.This entire volume, along with a selection of short stories from previous books in this period, is presented here for the first time in English translation. Any false promise of a coherent, masterful world (with its insistence of "better words") is left behind. Instead, we have "bad words" minor everyday objects and the freedom that comes with vigilant and playful disobedience.

After years on the job, police detective Jakob Franck has retired. Finally, the dead with all their mysteries will no longer have any claim on him. Or so he thinks. On a cold autumn afternoon, a case he thought he'd long put behind him returns to his life and turns it upside down. The Nameless Day tells the story of that twenty-year-old case, which began with Franck carrying the news of the suicide of a seventeen-year-old girl to her mother, and holding her for seven hours as, in her grief, she said not a single word. Now her father has appeared, swearing to Franck that his daughter was murdered. Can Franck follow the cold trail of evidence two decades later to see whether he's telling the truth? Could he live with himself if he didn't? A psychological crime novel certain to thrill fans of Henning Mankell and Jo Nesbo, The Nameless Day is a masterpiece, a tightly plotted story of contemporary alienation, loss, and violence.

Two men talk in Tokyo. One, a Belgian, is a diplomat. The other, Dutch, is a photographer. What, they wonder, is the real face of Japan? How can they get beyond the European idea of the nation and its people with its exoticism and see Japan as it truly is? The Belgian has an idea: he helps the photographer find a model to shoot in front of Mount Fuji as the "typical Japanese." The plan works better than either had imagined in fact, it works too well: the photographer falls in love, neglects his friend and his career, and, feeling out of place and disillusioned in Holland, returns to Japan as often as possible over the next five years. A reunion is planned: the three will meet again at Mount Fuji. Time, it seems, has stood still ...except the woman has a secret, and plans of her own. This moving novel of obsession and difference is the latest masterwork from one of the greatest European writers working today, redolent with the power of desire and alive to the limits of our understanding of others.

Hans Magnus Enzensberger takes the title for this collection of daring short essays on topical themes politics, economics, religion, society not from Jeremy Bentham's famous prison but from a mid-1930s Cabinet of Curiosities opened in Germany by Karl Valentin. "There," writes Enzensberger, "viewers could admire, along with implements of torture, all manner of abnormalities and sensational inventions." And that's what he offers here: a wide-ranging, surprising look at all manner of strange aspects of our contemporary world. As masterly with the essay as he is with fiction and poetry, Enzensberger here presents complicated thoughts with a light touch, tying new iterations of old ideas to their antecedents, quoting liberally from his forebears, and presenting himself unapologetically as not an expert but a seeker. Enzensberger the essayist works in the mode of Montaigne, unafraid to take his reader in unexpected directions, knowing that the process of exploration is often in itself sufficient reward for following a line of thought. ?In an era that regularly laments the death of the public intellectual, Enzensberger is the real deal: a towering figure in German literature who refuses to let his mind or work be bound by the narrow world of the poetry or fiction section.Panopticon will thrill readers daring enough to accompany him.

Described as an answer to or at least an echo of Samuel Beckett's Krapp's Last Tape?, Till Day You Do Part Or A Question of Light, by esteemed Austrian playwright and novelist Peter Handke, is a monologue delivered by the "she" in Beckett's play. This unnamed female similarly recalls other significant women protagonists in Handke's own work such as The Lefthanded Woman. Handke prefaces the monologue in Till Day You Do PartOr a Question of Light with a description of two stone figures. While the male figure remains "as dead and gone as anyone can," the female bursts into life, and her monologue gradually focuses on Krapp's use of pauses and language to dominate the other characters in the Beckett play. Ultimately, however, her complaints and critique of Krapp become a declaration of her love for Krapp or at least an affirmation of their attachment, as the two of them are ultimately bound together, perhaps even inseparable. Till Day You Do Part Or a Question of Light is Handke at his best, evidencing the great skill, psychological acumen, and vision for which his work has been celebrated.

Austrian writer Ingeborg Bachmann (1926-73) is recognized as one of the most important novelists, poets, and playwrights of postwar German literature. As befitting such a versatile writer, her War Diary is not a day-by-day journal but a series of sketches, depicting the last months of World War II and the first year of the subsequent British occupation of Austria. These articulate and powerful entries--ll the more remarkable taking into account Bachmann's young age at the time--reveal the eighteen-year-old's hatred of both war and Nazism as she avoids the fanatics' determination to "defend Klagenfurt to the last man and the last woman." The British occupation leads to her incredible meeting with a British officer, Jack Hamesh, a Jew who had originally fled Vienna for England in 1938. He is astonished to find in Austria a young girl who has read banned authors such as Mann, Schnitzler, and Hofmannsthal. Their relationship is captured here in the emotional and moving letters Hamesh writes to Bachmann when he travels to Israel in 1946. In his correspondence, he describes how in his new home of Israel, he still suffers from the rootlessness affecting so many of those who lost parents, family, friends, and homes in the war. War Diary provides unusual insight into the formation of Bachmann as a writer and will be cherished by the many fans of her work. But it is also a poignant glimpse into life in Austria in the immediate aftermath of the war, and the reflections of both Bachmann and Hamesh speak to a significant and larger story beyond their personal experiences.

Thousands upon thousands of books have been written about Immanuel Kant since his death. None, let’s be clear, have been quite like what we have here. In Party Fun with Kant, Nicolas Mahler tells the story of Kant—and his fellow serious-minded figures from the history of philosophy—with a comic edge. With his witty visual style and clever wordplay, he delves into their lives and emerges with hitherto unknown scenes that show them in a new (and far less serious) light. We go to parties with Kant, visit an art exhibition with Hegel, shop at the supermarket with Nietzsche, and go to the cinema with Deleuze, and celebrate the dream wedding with de Beauvoir. In each case, we come away knowing more about the life, thoughts, and feelings of the philosopher—getting to know them as people rather than as stony-faced figures long since robbed of any existence beyond their ideas. The result is pure fun, but with plenty of insight, too.

Now in paperback, Katharina Winkler’s heartbreaking saga of a tenacious woman trapped in an abusive marriage.Blue jewelry is private property. Not to be seen. Not to be talked about. It is worn like a bracelet around the wrists, on ribs, legs, arms. Blue jewelry is another name for the marks left on women’s bodies, inflicted by the men around them.  This novel tells the story of Filiz and Yunus. When Filiz meets Yunus, he is young and beautiful, and Filiz is proud that he wants her. Against her father’s wishes, they marry when she is thirteen. Yunus is her entire universe, all encompassing, all powerful. Soon after the wedding, Filiz’s dream of living in the West with her husband, of escaping their small village in Anatolia for freedom and autonomy, comes crashing down around her. Yunus, only a few years older than his bride, turns their marriage into a prison of dependency and violence. Trapped in her mother-in-law’s house, Filiz is subjected to physical and mental abuse, forced to veil herself, and treated as a house slave. When she becomes pregnant, Filiz seems to have reached her breaking point. But she endures. When Yunus moves his young family first to Istanbul and then to Austria, the life he had once promised her seems to be within reach. But there is no escaping the spiral of violence and love, which, to Filiz, have become inseparable.  Katharina Winkler’s powerful story of a marriage dominated by violence gives voice to a tenacious young woman whose will to survive is never broken.

Christa Wolf tried for years to find a way to write about her childhood in Nazi Germany. In her 1976 book Patterns of Childhood, she explained why it was so difficult: "Gradually, over a period of months, the dilemma has emerged: to remain speechless or to live in the third person, these seem to be the options. One is impossible, the other sinister." During 1971 and 1972 she made thirty-three attempts to start the novel, abandoning each manuscript only pages in. Eulogy for the Living, written over the course of four weeks, is the longest of those fragments. In its pages, Wolf recalls with crystalline precision the everyday details of her life as a middle-class grocer's daughter, and the struggles within the family--struggles common to most families, but exacerbated by the rise of Nazism. And as Nazism fell, the Wolfs fled west, trying to stay ahead of the rampaging Red Army. Though Wolf abandoned this account, it stands, in fragmentary form, as a testament to her skill as a thinker, storyteller, and memorializer of humanity's greatest struggles.

Breviaries, books of standard religious readings for particular denominations, are a familiar genre with a long pedigree. But you’ve definitely never seen a breviary like this one. The Sex of the Angels is a playful, often ironic take on the breviary in the form of a collection of letters that begins by taking up early Christian cosmology and follows the Biblical mutations of the angel from Babylon to the present day. As it goes along, Raoul Schrott also weaves in a history which ranges from ancient Greek legends of the origin of light to the medieval darkness of the eclipse. But there is more going on here than meets the eye: the letters are addressed to an unnamed “other” and chart the course of an elusive affair. They are, we come to realize, a declaration of love—or, more accurately, of yearning—but also a far-reaching poetic essay which moves between etymological history, anthropological anecdote, philosophy, and disquisition on the nature of art. The text is supplemented by sumptuous illustrations by Arnold Mario Dall’O that chart the stories of the saints, and the result is a unique dialogue between literature and art: an extraordinary and rare book about love.

The poems of Ulrike Almut Sandig are at once simple and fantastic. This new collection finds her on her way to imaginary territories. Thick of It charts a journey through two hemispheres to "the center of the world" and navigates a "thicket" that is at once the world, the psyche, and language itself. The poems explore an urgently urban reality, but that reality is interwoven with references to nightmares, the Bible, fairy tales, and nursery rhymes--all overlaid with a finely tuned longing for a disappearing world. The old names are forgotten, identities fall away; things disappear from the kitchen; everything is sliding away. Powerful themes emerge, but always mapped onto the local, the fractured individual in "the thick of it" all. This is language at its most crafted and transformative, blisteringly contemporary, but with a kind of austerity, too. By turns comic, ironic, skeptical, nostalgic, these poems are also profoundly musical, exploiting multiple meanings and stretching syntax, so that the audience is constantly kept guessing, surprised by the next turn in the line.

“His manner of speaking, like that of all the subordinated, excluded, was awkward, like a body full of wounds, into which at any time anyone can strew salt, yet so insistent, that it is painful to listen to him,” from The CarpenterThe Austrian playwright, novelist, and poet Thomas Bernhard (1931–89) is acknowledged as among the major writers of our time. 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 these 99 meditations, poet and novelist Hans Magnus Enzensberger celebrates the tenacity of the normal and routine in everyday life, where the survival of the objects we use without thinking—a pair of scissors, perhaps—is both a small, human victory and a quiet reminder of our own ephemeral nature. He sets his quotidian reflections against a broad historical and political backdrop: the cold war and its accompanying atomic threat; the German student revolt; would-be socialism in Cuba, China, and Africa; and World War II as experienced by the youthful poet.Enzensberger’s poems are conversational, skeptical, and serene; they culminate in the extended set of observations that gives the collection its title. Clouds, alien and yet symbols of human life, are for Enzensberger at once a central metaphor of the Western poetic tradition and “the most fleeting of all masterpieces.” “Cloud archaeology,” writes Enzensberger, is “a science for angels.”           Praise for the German edition“After reading this wonderful volume of poetry one would like to call Enzensberger simply the lyric voice of transience.”— Sueddeutsche Zeitung“With this book Enzensberger reveals himself both as a spokesman of persistence and as a decelerator.”—Neue Zuercher Zeitung