This is a memoiristic book and a dual portrait, built around intense friendships with two leading public intellectuals who achieved celebrity status--Susan Sontag on a global scale, George Steiner principally in Europe, though also for a time in the US. For audiences at Woody Allen movies Sontag was the prime embodiment of the term "intellectual," whose famous 1965 essay "Notes on Camp" won her an enormous following. For viewers of French, German and British television over decades Steiner was the primary interview show talking head, igniting controversy on many fronts, while also commanding a loyal audience for thirty years as a book critic at The New Yorker. To know Sontag and Steiner, as this memoir suggests, was often to feel overmatched and yet also bemused and awe-struck. Both of them gave off an air of omniscience and self-confidence, as if they had taken to heart the words of the Nobel laureate Elias Canetti, who wrote, "I cannot become modest; too many things burn in me." Maestros & Monsters is the work of a well-known public intellectual who was close to Sontag and Steiner over a half century, and who managed to bring them together on several occasions--the only times they ever met. Those encounters are among the most bizarre episodes in this narrative, which also features extended encounters with such literary figures as Arthur Koestler, Edward Said, Phillip Rieff, James Wood and others.

The stark theological polarities of damnation and salvation have haunted representations of guilt in Western culture for thousands of years. Friedrich Ohly's classic study The Damned and the Elect, first published in English in 1992, offers a comparative cultural history of figures such as Oedipus, Judas and Faust, from antiquity, through the Middle Ages, into modern times. Looking at the works of writers such as Sophocles, Dante, Marlowe, Bunyan, Goethe, and Thomas Mann (and illustrating his ideas with reference to representation in the visual arts), Ohly's wide-ranging arguments weave deftly across different cultures and periods to illuminate one of the most salient themes in Western literature.

George Steiner is one of the preeminent intellectuals of our time. The Washington Post has declared that no one else "writing on literature can match him as polymath and polyglot, and few can equal the verve and eloquence of his writing," while the New York Times says of his works that "the erudition is almost as extraordinary as the prose: dense, knowing, allusive." Reading in many languages, celebrating the survival of high culture in the face of modern barbarisms, Steiner probes the ethics of language and literature with unparalleled grace and authority. A Long Saturday offers intimate insight into the questions that have absorbed him throughout his career. In a stimulating series of conversations, Steiner and journalist Laure Adler discuss a range of topics, including Steiner's boyhood in Vienna and Paris, his education at the University of Chicago and Harvard, and his early years in academia. Books are a touchstone throughout, but Steiner and Adler's conversations also range over music, chess, psychoanalysis, the place of Israel in Jewish life, and beyond. Blending thoughts on subjects of broad interest in the humanities the issue of honoring Richard Wagner and Martin Heidegger in spite of their politics, or Virginia Woolf's awareness of the novel as a multivocal form, for example with personal reflections on life and family, Steiner demonstrates why he is considered one of today's greatest minds. Revealing and exhilarating, A Long Saturday invites readers to pull up a chair and listen in on a conversation with a master.

On its first publication in 1975, After Babel quickly established itself as both controversial and seminal. George Steiner was the first since the eighteenth century to present a systematic investigation of the phenomenology and processes of translation both inside and between languages. Taking issue with the principal emphasis of modern linguistics, he finds the root of the `Babel problem' in our deep instinct for privacy and a unique body of shared secrecy. With this provocative thesis he analyses every aspect of translation, from fundamental conditions of interpretation to the most intricate of linguistic constructions.

This second edition has been completely revised and amended, and includes an updated bibliography and a new preface which sets the book in the present context of hermeneutics, poetics, and translation studies.

The Origin of German Tragic Drama is Walter Benjamin’s most sustained and original work. It begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer and the theatre of Calderon and Shakespeare. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history. Georg Lukacs, an opponent of Benjamin’s aesthetics, singled out The Origin of German Tragic Drama as one of the main sources of literary modernism in the twentieth century.

With his hallmark discernment, George Steiner presents in The Poetry of Thought his magnum opus, staking out his claim for the essential oneness of great thought and great style. Steiner spans the entire history of Western philosophy as it entwines with literature, finding that, as Sartre stated, in all philosophy there is "a hidden literary prose."

With his hallmark forceful discernment, George Steiner offers The Poetry of Thought as his magnum opus: an examination of more than two millennia of Western culture that argues on behalf of the essential oneness of great thought and great style. Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is "a hidden literary prose." "The poetic genius of abstract thought," Steiner believes, "is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel's Phenomenology better than Edith Piaf's non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely."

As an incisive and provocative critic of literature, language, and culture, George Steiner has acquired an international reputation and a devoted following. "He scatters bright ideas everywhere," writes The New York Times Book Review, "and they are sure to be picked up." This volume presents a rich sampling of Steiner's ideas, including selections from his seminal books The Death of Tragedy, After Babel, Tolstoy or Dostoevsky, and Language and Science. Aside from pointing to work that lies ahead, this anthology offers a rich retrospective of the intellectual ground Steiner has already covered. Whether discussing Marxist literary theory, the significance of Tolstoy, or the problems of treating sexual material in literature, Steiner's writings give us the pleasure of watching an astute and nimble mind constantly at work.

Acquaintance with the work of Martin Heidegger is indispensable to an understanding of contemporary thought and culture. His work has had a profound influence on a number of disciplines, including theology, Sartrean existentialism, linguistics, Hellenic studies, the structuralist and hermeneutic schools of textual interpretation, literary theory, and literature itself.

This book examines the far-reaching legacy of one of the great myths of classical antiquity. According to Greek legend, Antigone, daughter of Oedipus, secretly buried her brother in defiance of the orders of Creon, king of Thebes. Creon sentenced Antigone to death, but, before the order could be executed, she committed suicide.
The theme of the conflict between Antigone and Creon--between the state and the individual, between young and old, between men and women--has captured the Western imagination for more than 2,000 years. Antigone and Creon are as alive in the politics and poetics of our own day as they were in ancient Athens.
Here, Steiner examines the treatment of the Antigone theme in Western art, literature and thought, leading us to look again at the unique influence Greek myths exercise on twentieth-century culture.
About the Author:
George Steiner, Professor of English and Comparative Literature at the University of Geneva and Extraordinary Fellow of Churchill College, Cambridge

Imagine, thirty years after the end of World War II, Israeli Nazi-hunters, some of whom lost relatives in the gas chambers of Nazi Germany, find a silent old man deep in the Amazon jungle. He is Adolph Hitler. The narrative that follows is a profound and disturbing exploration of the nature of guilt, vengeance, language, and the power of evil--each undiminished over time. George Steiner's stunning novel, now with a new afterword, will continue to provoke our thinking about Nazi Germany's unforgettable past.
"Two readings have convinced me that this is a fiction of extraordinary power and thoughtfulness. . . . A] remarkable novel."--Bernard Bergonzi, "Times Literary Supplement"
"In this tour de force Mr. Steiner makes his reader re-examine, to whatever conclusions each may choose, a history from which we would prefer to avert our eyes."--Edmund Fuller, "Wall Street Journal"
""Portage" largely avoids both the satisfactions of the traditional novel and the horrifying details of Holocaust literature. Instead, Steiner has taken as his model the political imaginings of an Orwell or Koestler. . . . He has produced a philosophic fantasy of remarkable intensity."--Otto Friedrich, "Time"

George Steiner, the eminent professor of English at Cambridge and Geneva universities, has outlined seven books he has never written, but has always wanted to write, in seven sections. In this fiercely original and audacious work, George Steiner tells of seven books which he did not write. Because intimacies and indiscretions were too threatening. Because the topic brought too much pain. Because its emotional or intellectual challenge proved beyond his capacities. The actual themes range widely and defy conventional taboos: the torment of the gifted when they live among, when they confront, the very great; the experience of sex in different languages; a love for animals greater than for human beings; the costly privilege of exile; a theology of emptiness. Yet a unifying perception underlies this diversity. The best we have or can produce is only the tip of the iceberg. Behind every good book, as in a lit shadow, lies the book which remained unwritten, the one that would have failed better.

The world chess championship between Boris Spassky and Bobby Fischer at Reykjavik in 1972 was the most widely publicised and eagerly analysed beforehand of any chess match to date. It seized the attention of the world's press and media in general in unprecedented fashion and inspired more books and column inches than any chess contest before or since. Hardinge Simpole now commemorate this stellar chess clash by reprinting the eye witness accounts by Grandmaster Emeritus Harry Golombek OBE and Professor George Steiner. Grandmaster Golombek analyses the moves while Professor Steiner searches for the meaning behind the circus. To top it all, Arthur Koestler, one of the keenest intellects of the 20th century, adds an introduction to complete a remarkable tour de force of intellectual exegesis of a great turning point in world chess.

Cited by Lukacs as a principal source of literary modernism, Walter Benjamin's study of the baroque stage-form called Trauerspiel (literally, "mourning play") is the most complete document of his prismatic literary and philosophical practice. Engaging with sixteenth- and seventeenth-century German playwrights as well as the plays of Shakespeare and Calderon and the engravings of Durer, Benjamin attempts to show how the historically charged forms of the Trauerspiel broke free of tragedy's mythological timelessness. From its philosophical prologue, which offers a rare account of Benjamin's early aesthetics, to its mind-wrenching meditation on allegory, "The Origin of German Tragic Drama" sparkles with early insights and the seeds of Benjamin's later thought.

When we talk about education today, we tend to avoid the rhetoric of "mastery," with its erotic and inegalitarian overtones. But the charged personal encounter between master and disciple is precisely what interests George Steiner in this book, a sustained reflection on the infinitely complex and subtle interplay of power, trust, and passions in the most profound sorts of pedagogy. Based on Steiner's Norton Lectures on the art and lore of teaching, "Lessons of the Masters" evokes a host of exemplary figures, including Socrates and Plato, Jesus and his disciples, Virgil and Dante, Heloise and Abelard, Tycho Brahe and Johann Kepler, the Baal Shem Tov, Confucian and Buddhist sages, Edmund Husserl and Martin Heidegger, Nadia Boulanger, and Knute Rockne.

Pivotal in the unfolding of Western culture are Socrates and Jesus, charismatic masters who left no written teachings, founded no schools. In the efforts of their disciples, in the passion narratives inspired by their deaths, Steiner sees the beginnings of the inward vocabulary, the encoded recognitions of much of our moral, philosophical, and theological idiom. He goes on to consider a diverse array of traditions and disciplines, recurring throughout to three underlying themes: the master's power to exploit his student's dependence and vulnerability; the complementary threat of subversion and betrayal of the mentor by his pupil; and the reciprocal exchange of trust and love, of learning and instruction between master and disciple.

Forcefully written, passionately argued, "Lessons of the Masters" is itself a masterly testament to the high vocation and perilous risks undertaken by true teacher and learner alike.

"We have no more beginnings," George Steiner begins in this, his most radical book to date. A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. He reflects on the different ways we have of talking about beginnings, on the "core-tiredness" that pervades our end-of-the-millennium spirit, and on the changing grammar of our discussions about the end of Western art and culture. With his well-known elegance of style and intellectual range, Steiner probes deeply into the driving forces of the human spirit and our perception of Western civilization's lengthening afternoon shadows. Roaming across topics as diverse as the Hebrew Bible, the history of science and mathematics, the ontology of Heidegger, and the poetry of Paul Celan, Steiner examines how the twentieth century has placed in doubt the rationale and credibility of a future tense-the existence of hope. Acknowledging that technology and science may have replaced art and literature as the driving forces in our culture, Steiner warns that this has not happened without a significant loss. The forces of technology and science alone fail to illuminate inevitable human questions regarding value, faith, and meaning. And yet it is difficult to believe that the story out of Genesis has ended, Steiner observes, and he concludes this masterful volume of reflections with an eloquent evocation of the endlessness of beginnings.

George Steiner is one of the preeminent essayists and literary thinkers of our era. In this remarkable book he concerns himself with language and the relation of language to literature and to religion. Written during a period when the art of reading and the status of a text have been threatened by literary movements that question their validity and by computer technology, Steiner's essays affirm the primacy of reading in the classical sense. Steiner covers a wide range of subjects, from the Hebrew Bible, Homer, and Shakespeare to Kafka, Kierkegaard, Simone Weil, Husserl, and Freud. The theme of Judaism's tragic destiny winds through his thinking, in particular as he muses about whether Jewish scripture and the Talmud are the Jew's true homeland, the parallels between the "last supper" of Socrates and the Last Supper of Jesus, and the necessity for Christians to hold themselves accountable for their invective and impotence during the Holocaust.

Als ein Beispiel der christlichen Dichtung in der altenglischen Literatur hat sich Georg Steiner das Gedicht Daniel vorgenommen. Steiner zeigt die Abweichungen zu einer reinen Bibelubertragung auf und erlautert die poetischen Elemente in der Darstellung. Auf diese Weise gelingt es Steiner, anhand des von ihm gewahlten Beispieltextes, dem Leser wesentliche Merkmale dieser Literaturgattung zu verdeutlichen. Sorgfaltig bearbeiteter Nachdruck der Originalausgabe von 1889.