German List - Böcker

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.

Two fathers with two daughters: Martin, professor of German, writes but is studying earth sciences at MIT; Tariq, a doctor in Baghdad and Muna, is studying the archaeology of a region that is seen as the cradle of civilization. These two parallel relationships in two very different parts of the world expose the human similarities beneath cultural differences. In Thomas Lehr's moving and realistic novel, the similarities between these men become a similarity of suffering as well. Martin's daughter dies with her mother in the World Trade Center on September 11, 2001 and though Tariq survives three wars and Saddam Hussein's regime intact, his family does not-in the last days of the conflict, his daughter is raped, her lover is murdered, and she sees her sister and mother die in a bomb attack. Out of these tragedies that almost seem to define the first decade of our century, Lehr has fashioned a richly woven, multilayered tapestry that not only explores the human side but brings out the cultural, historical, social, and political context within which the tragedies occur.The alternating interior monologues of the four main characters engage the reader in language which reaches an unforgettable poetic intensity.

On April 8, 1945, several American bomber squadrons were informed that their German targets were temporarily unavailable due to cloud cover. As it was too late to turn back, the assembled ordnance of more than two hundred bombers was diverted to nearby Halberstadt. A midsized cathedral town of no particular industrial or strategic importance, Halberstadt was almost totally destroyed, and a then-thirteen-year-old Alexander Kluge watched his town burn to the ground. Translated by Martin Chalmers, Kluge's Air Raid is a touchstone event in German literature of the postwar era. Incorporating photographs, diagrams, and drawings, Kluge captures the overwhelming rapidity and totality of the organized destruction of his town from numerous perspectives, bringing to life both the strategy from above and the futility of the response on the ground. Originally published in German in 1977, this exquisite report, fragmentary and unfinished, is one of Kluge's most personal works and one of the best examples of his literary technique. Now available for the first time in English, Air Raid appears with additional new stories by the author and features an appreciation of the work by W. G. Sebald.

Gone, finito, The End, I say. A father who puts an end to it all before he wears down the whole family deserves more praise than damnation. Two sisters travel to Sofia - in a convoy of luxury limousines arranged by a fellow Bulgarian exile - to bury their less-than-beloved father. Like tourists, they are chauffeured by the ever-charming Ruben Apostoloff-one sister in the back seat, one in the passenger seat, one sharp-tongued and aggressive, the other polite and considerate. In a caustic voice, Apostoloff shows them the treasures of his beloved country: the peacock-eye pottery (which contains poisonous dye), the Black Sea coast (which is utterly destroyed), and the architecture (a twentieth-century crime). His attempts to win them over seem doomed to fail as the sisters' Bulgarian heritage is a heavy burden - their father, a successful doctor and melancholy immigrant, appears in their dreams still dragging the rope with which he hanged himself. An account of a daughter's bitterly funny reckoning with her father and his country, laden with linguistic wit and black humor, "Apostoloff" will introduce the unique voice of Sibylle Lewitscharoff to a new and eager audience.

When Keith Stapperpfenning and his family give their grandfather the trip of a lifetime - an all-expenses-paid holiday to any destination in the world - the eccentric old man arbitrarily chooses China, and he asks Keith to accompany him. After Keith loses all the money for the journey at a casino, however, he goes into hiding - mostly under his desk - and his grandfather - equally uninterested in actually traveling to China - heads down the road to engage in a similar subterfuge. And it is here that the novel opens, with two men in hiding, mere miles apart. But when his grandfather dies unexpectedly, Keith is left to continue the farce alone. With the aid of a guidebook, Keith writes a series of letters home to his brothers and sisters, detailing their imaginary travels and the bizarre sights they see. These start off harmlessly, but before long he starts adding invented details: nonstop dental hygiene shows on television, dog vaccinations at the post office-and the letters get longer and longer.Engaging, strange, and ultimately moving, this hilarious novel won Tilman Rammstedt the prestigious Ingeborg Bachmann Prize in 2008 and confirmed him as one of Germany's most compelling writers.

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

Young Hans arrives with one suitcase in a squalid village on the eastern edge of empire-a surreal postwar Austria. His uncle has died, and according to the tradition required by his people-the Bieresch-Hans must assume his uncle's place for one year. In a series of interactions with the village's tragicomic characters and their contradictory stories and scriptures, the reluctant Hans must face a world both familiar and alien. Among the Bieresch is Hans's story-one of bizarre customs, tangled relationships, and the struggle between two mystical sects. The novel, translated by Isabel Fargo Cole, is a German cult favorite and a masterwork of culture shock fiction that revels in exploring oppressive cultural baggage and assimilation. Readers will encounter here an amalgam drawing from Kafka, Borges, and Beckett, among others, combining to make Klaus Hoffer's novel a world utterly its own. "One of the few works that will loom from the dust of this century one day."-Urs Widmer

This collection of four stories by the writer George Steiner called “one of the masters of European fiction” is, as longtime fans of Thomas Bernhard would expect, bleakly comic and inspiringly rancorous. The subject of his stories vary: in one, Goethe summons Wittgenstein to discuss the Tractatus Logico-Philosophicus; “Montaigne: A Story (in 22 Installments)” tells of a young man sealing himself in a tower to read; “Reunion,” meanwhile, satirizes that very impulse to escape; and the final story rounds out the collection by making Bernhard himself a victim, persecuted by his greatest enemy—his very homeland of Austria. Underpinning all these variously comic, tragic, and bitingly satirical excursions is Bernhard’s abiding interest in, and deep knowledge of, the philosophy of doubt.Bernhard’s work can seem off-putting on first acquaintance, as he suffers no fools and offers no hand to assist the unwary reader. But those who make the effort to engage with Bernhard on his own uncompromising terms will discover a writer with powerful comic gifts, penetrating insight into the failings and delusions of modern life, and an unstinting desire to tell the whole, unvarnished, unwelcome truth. Start here, readers; the rewards are great.

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.

In 2010, Robert Menasse journeyed to Brussels to begin work on a novel centered on the European Union. His extended stay resulted in a completely different book—Enraged Citizens, European Peace and Democratic Deficits, a work of nonfiction examining the history of the European project and the evolving politics of nation-states.Spanning from the beginning of the transnational idea with 1951’s Montanunion—the European Coal and Steel Community—to the current financial crisis, Menasse focuses on the institutional structures and forces both advancing and obstructing the European project. Given the internal tensions among the European Commission, Parliament, and Council, Menasse argues that current problems that are frequently misunderstood as resulting from the financial crisis are, in fact, political. Along the way, he makes the bold claim that either the Europe of nation-states will perish—or the project of transcending the nation-states will.A provocative book, Enraged Citizens, European Peace and Democratic Deficits deftly analyzes the financial and bureaucratic structures of the European Union and sheds much-needed light on the state of the debt crisis. Menasse brings his considerable literary expertise to the unraveling of the real state of the Union, along the way weaving an intriguing tale of one continent’s efforts to become a truly postnational democracy.

It's the early 1970s and Dion Katthusen, thirteen, is growing up fatherless in a small village in northern Germany. An only child plagued with a devastating stutter, Dion is ostracized by his peers and finds solace in the company of nature, collecting dragonflies in a moor filled with myths and legends. On the precipice of adulthood, Dion begins to spill the secrets of his heart his burning desire for faultless speech and his abiding relationship with his mother, a failed painter with secrets of her own. Even as Dion spins his story, his speech is filled with fissures and holes much like the swampy earth that surrounds him. Nature, though so often sublime, can also be terribly cruel.Moor is Dion's story a story of escaping the quicksand of loneliness and of the demands we make on love, even as those surrounding us are hurt in their misguided attempts to bear our suffering. Powerfully tuned to the relationship between human and nature, mother and son, Moor is a mysterious and experimental portrait of childhood.Written by up-and-coming German novelist Gunther Geltinger, the novel received critical acclaim in Germany and is now presented in English for the first time by translator Alexander Booth. Evocative and bold, Dion's story emerges from the forces of nature, his voice rising from the ground beneath the reader's feet, not soon to be forgotten.

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

April 30, 1945, marked an end of sorts in the Third Reich. The last business day before a national holiday and then a series of transfers of power, April 30 was a day filled with contradictions and bewildering events that would forever define global history. It was on this day that while the Red Army occupied Berlin, Hitler committed suicide in his underground bunker, and, in San Francisco, the United Nations was being founded. Alexander Kluge's latest book, 30 April 1945, covers this single historic day and unravels its passing hours across the different theaters of the Second World War. Translated by Wieland Hoban, the book delves into the events happening around the world on one fateful day, including the life of a small German town occupied by American forces and the story of two SS officers stranded on the forsaken Kerguelen Islands in the South Indian Sea. Kluge is a master storyteller, and as he unfolds these disparate tales, one unavoidable question surfaces: What is the appropriate reaction to the total upheaval of the status quo?With additional text by Reinhard Jirgl, translated by Iain Galbraith, 30 April 1945 is a riveting collection of lives turned upside down by the deadliest war in history. The collective experiences Kluge paints here are jarring, poignant, and imbued with meaning. Seventy years later, we can still see our own reflections in the upheaval of a single day in 1945. Praise for Kluge "More than a few of Kluge's many books are essential, brilliant achievements. None are without great interest." Susan Sontag

Max Weber famously described politics as "a strong, slow drilling through hard boards with both passion and judgment." Taking this as his inspiration, Alexander Kluge brings readers yet another literary masterpiece. Drilling through Hard Boards is a kaleidoscopic meditation on the tools available to those who struggle for power. Weber's metaphorical drill certainly embodies intelligent tenacity as a precondition for political change. But what is a hammer in the business of politics, Kluge wonders, and what is a subtle touch? Eventually, we learn that all questions of politics lead to a single one: what is political in the first place? In the book, Kluge masterfully unspools more than one hundred vignettes, through which it becomes clear that the political is more often than not personal. Politics are everywhere in our everyday lives, so along with the stories of major political figures, we also find here the small, mostly unknown ones: Elfriede Eilers alongside Pericles, Chilean miners next to Napoleon, a three-month-old baby beside Alexander the Great. Drilling through Hard Boards is not just Kluge's newest fiction, it is a masterpiece of political thought.

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.

For distinguished philosopher Hans Blumenberg, lions were a life-long obsession. Lions, translated by Kari Driscoll, collects thirty-two of Blumenberg's philosophical vignettes to reveal that the figure of the lion unites two of his other great preoccupations: metaphors and anecdotes as non-philosophical forms of knowledge. Each of these short texts, sparkling with erudition and humor, is devoted to a peculiar leonine presence or, in many cases, absence in literature, art, philosophy, religion, and politics. From Ecclesiastes to the New Testament Apocrypha, Durer to Henri Rousseau, Aesop and La Fontaine to Rilke and Thomas Mann, the extraordinary breadth of Blumenberg's knowledge and intellectual curiosity is on full display. Lions has much to offer readers, both those already familiar with Blumenberg's oeuvre and newcomers looking for an introduction to the thought of one of Germany's most important postwar philosophers.

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.

Thomas Bernhard's Old Masters has been called his "most enjoyable novel" by the New York Review of Books. It's a wild satire that takes place almost entirely in front of Tintoretto's White-Bearded Man, on display in the Kunsthistorisches Museum, as two typically Viennese pedants (serving as alter egos for Bernhard himself) irreverently, even contemptuously take down high culture, society, state-supported artists, Heidegger, and much more. It's a book built on thought and conversation rather than action or visuals. Yet somehow celebrated Austrian cartoonist Nicholas Mahler has brought it to life in graphic form and it's brilliant. This volume presents Mahler's typically minimalist cartoons alongside new translations of selected passages from the novel. The result is a version of Old Masters that is strikingly new, yet still true to Bernhard's bleak vision, and to the novel's outrageous proposition that the perfect work of art is truly unbearable to even think about let alone behold.

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.

To create the poems in this collection, Nobel Prize-winner Herta Muller cut up countless newspapers and magazines in search of striking phrases, words, or even fragments of words, which she then arranged in a the form of a collage. Father's on the Phone with the Flies presents seventy-three of Muller's collage poems for the first time in English translation, alongside full-color reproductions of the originals. Muller takes full advantage of the collage form, generating poems rich in wordplay, ambiguity, and startling, surreal metaphors the disruption and dislocation at their core rendered visible through stark contrasts in color, font, and type size. Liberating words from conformity and coercion, Muller renders them fresh and invests them forcefully with personal experience. Sure to thrill any fan of contemporary literature, Father's on the Phone with the Flies is an unexpected, exciting work from one of the most protean writers ever to win the Nobel.

A young woman who has been living abroad returns to her hometown of Frankfurt am Main in Germany. Her sister Ines a beautiful, impetuous painter who still lives there, soon appears and promptly asks for financial help. But the returning sister knew this was coming it is how their relationship has always worked. And this time, she's determined that that will change. ?But our plans don't always hold up to the surprises presented by life and when the sister finds herself about to drift into an affair with Ines's lover, the two women grow unexpectedly closer. The Hour Between Dog and Wolf is a tale of disorientation in a modern, fundamentally rootless society that has become increasingly erratic and self-absorbed it is a powerful exploration of the difficulties of intimacy and addiction.