This is the perfect book for paranoid times, "I" introduces us to W, a mere hangeron in East Berlin's postmodern underground literary scene. All is not as it appears, though, as W is actually a Stasi informant who reports to the mercurial David Bowie look-alike Major Feuerbach. But are political secrets all that W is seeking in the underground labyrinth of Berlin? In fact, what W really desires are his own lost memories, the self undone by surveillance: his "I." First published in Germany in 1993 and hailed as an instant classic, "I" is a black comedy about state power and the seductions of surveillance. Its penetrating vision seems especially relevant today in our world of cameras on every train, bus, and corner. This is an engrossing read, available now for the first time in English.

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.

The perfect book for paranoid times, “I” introduces us to W, a mere hanger-on in East Berlin’s postmodern underground literary scene. All is not as it appears, though, as W is actually a Stasi informant who reports to the mercurial David Bowie look-alike Major Feuerbach. But are political secrets all that W is seeking in the underground labyrinth of Berlin? In fact, what W really desires are his own lost memories, the self undone by surveillance: his “I.” First published in Germany in 1993 and hailed as an instant classic, “I” is a black comedy about state power and the seductions of surveillance. Its penetrating vision seems especially relevant today in our world of cameras on every train, bus, and corner. This is an engrossing read, available now for the first time in English.

Four classical Greek myths retold with unexpected twists by an East German dissident. Franz Fuhmann's subversive retellings of four Greek legends were first published in East Germany in 1980. In them, Fuhmann plumbs the ancient tales' depths and makes them his own. Attuned to conflict and paradox, he sheds light on the complexities of sex and love, art and beauty, politics and power. In the title story, the love of the goddess Eos for the mortal Tithonos reveals the blessing and curse of transience, while "Hera and Zeus" probes the divine couple's tumultuous relationship and its devastating consequences for a world embroiled in war. Fuhmann's unflinching account of Marsyas' flaying by Apollo has been widely read as a dissident political statement that has lost none of its incisive force. At times charged with sensuality, and at others honed to a keen analytical edge, Fuhmann's shimmering prose is matched by Sunandini Banerjee's exquisite collages.

Originally published in 1962, Franz Fühmann’s autobiographical story cycle The Jew Car is a classic of German short fiction and an unparalleled examination of the psychology of National Socialism. Each story presents a snapshot of a personal and historical turning point in the life of the narrator, beginning with childhood anti-Semitism and moving to a youthful embrace—and then an ultimate rejection—of Nazi ideology. With scathing irony and hallucinatory intensity, reflections on the nature of memory, and the individual experience of history, the cycle acquires the weight of a novel.

In June 1939 Annemarie Schwarzenbach and fellow writer Ella Maillart set out from Geneva in a Ford, heading for Afghanistan. The first women to travel Afghanistan's Northern Road, they fled the storm brewing in Europe to seek a place untouched by what they considered to be Western neuroses. The Afghan journey documented in All the Roads Are Open is one of the most important episodes of Schwarzenbach's turbulent life. Her incisive, lyrical essays offer a unique glimpse of an Afghanistan already touched by the "fateful laws known as progress," a remote yet "sensitive nerve centre of world politics" caught amid great powers in upheaval. In her writings, Schwarzenbach conjures up the desolate beauty of landscapes both internal and external, reflecting on the longings and loneliness of travel as well as its grace. Maillart's account of their trip, The Cruel Way, stands as a classic of travel literature, and, now available for the first time in English, Schwarzenbach's memoir rounds out the story of the adventure. Praise for the German Edition "Above all, [Schwarzenbach's] discovery of the Orient was a personal one. But the author never loses sight of the historical and social context. . . . She shows no trace of colonialist arrogance. In fact, the pieces also reflect the experience of crisis, the loss of confidence which, in that decade, seized the long-arrogant culture of the West."-Suddeutsche Zeitung

Franz Fuhmann's magnum opus. At the Burning Abyss is 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.

Originally published in 1962, Franz Fuhmann's autobiographical story cycle "The Jew Car" is a classic of German short fiction and an unparalleled examination of the psychology of National Socialism. Each story presents a snapshot of a personal and historical turning point in the life of the narrator, beginning with childhood anti-Semitism and moving to a youthful embrace--and then an ultimate rejection--of Nazi ideology. With scathing irony and hallucinatory intensity, reflections on the nature of memory, and the individual experience of history, the cycle acquires the weight of a novel.

"Fuhmann's work, beginning with "The Jew Car," can be read as a great literary self-analysis in the spirit of Freud. Through his work, he not only became conscious of his own thinking as it was seduced by totalitarianism, he also became capable of describing the mechanisms of a fascist upbringing with striking poetic power, transcending all theory." --"Die Welt," on the German edition