Rilke's prayerful responses to the french master's beseeching art

For a long time nothing, and then suddenly one has the right eyes.

Virtually every day in the fall of 1907, Rainer Maria Rilke returned to a Paris gallery to view a Cezanne exhibition. Nearly as frequently, he wrote dense and joyful letters to his wife, Clara Westhoff, expressing his dismay before the paintings and his ensuing revelations about art and life.

Rilke was knowledgeable about art and had even published monographs, including a famous study of Rodin that inspired his New Poems. But Cezanne's impact on him could not be conveyed in a traditional essay. Rilke's sense of kinship with Cezanne provides a powerful and prescient undercurrent in these letters -- passages from them appear verbatim in Rilke's great modernist novel, The Notebooks of Malte Laurids Brigge. Letters on Cezanne is a collection of meaningfully private responses to a radically new art.

"'It's a promise, Frau Moser,' the inspector said, impelled solely by the desire to leave this place. "'On your eternal salvation?' "The inspector hesitated. 'On my eternal salvation,' he finally said. What else could he do? When a young girl is found brutally murdered in a Swiss mountain forest, the brilliant Inspector Matthai can't put the case behind him. Not even when a local felon is arrested. Not even once the suspect has confessed. Matthai promises the girl's mother that he will stop at nothing to find the real killer. Adapted into a Hollywood film, The Pledge is the chilling story of a man in desperate search of the truth. A man driven to sacrifice everything, to commit acts of cruelty and obsession in a desperate search for a killer he can't find.

A respected professor is dead - shot in a crowded Zurich restaurant, in front of dozens of witnesses. The murderer calmly turned himself in to the police. So why has he now hired a lawyer to clear his name? And why has he chosen the drink-soaked, disreputable Spat to defend him? As he investigates, Spat finds himself obsessed, drawn ever deeper into a case of baffling complexity until he reaches a deadly conclusion: justice can be restored only by a crime. This is a captivating neo-noir classic from the master of the genre. The Execution of Justice is a dark, wicked satire on the legal system and a disturbing, if ambivalent, allegory on guilt, justice, violence and morality.

From one of the preeminent intellectual figures of the twentieth century, a highly personal testimonial of what Canetti himself chooses to term "notations," bits and pieces: notes, aphorisms, fragments. Taken together, they present an awesomely tender, guiltily gloomy meditation on death and aging.

The Swiss writer Friedrich Durrenmatt (1921-90) was one of the most important literary figures of the second half of the twentieth century. During the years of the cold war, arguably only Beckett, Camus, Sartre, and Brecht rivaled him as a presence in European letters. Yet outside Europe, this prolific author is primarily known for only one work, "The Visit," With these long-awaited translations of his plays, fictions, and essays, Durrenmatt becomes available again in all his brilliance to the English-speaking world.
Durrenmatt's concerns are timeless, but they are also the product of his Swiss vantage during the cold war: his key plays, gathered in the first volume of "Selected Writings," explore such themes as guilt by passivity, the refusal of responsibility, greed and political decay, and the tension between justice and freedom. In "The Visit," for instance, an old lady who becomes the wealthiest person in the world returns to the village that cast her out as a young woman and offers riches to the town in exchange for the life of the man, now its mayor, who once disgraced her. Joel Agee's crystalline translation gives a fresh lease to this play, as well as four others: "The Physicists," "Romulus the Great," "Hercules and the Augean Stables," and "The Marriage of Mr. Mississippi,"
Durrenmatt has long been considered a great writer--but one unfairly neglected in the modern world of letters. With these elegantly conceived and expertly translated volumes, a new generation of readers will rediscover his greatest works.

Joel Agee, the son of James Agee, was raised for twelve years in East Germany, where his stepfather, the novelist Bodo Uhse, was a member of the privileged communist intelligentsia. This is the story of how young Joel failed to become a good communist, becoming instead a fine writer.
"A wonderfully evocative memoir. . . . Agee evoked for me the atmosphere of postwar Berlin more vividly than the actual experience of it--and I was there." --Christopher Lehmann-Haupt, "New York Times"
"One of those rare personal memoirs that brings to life a whole country and an epoch." --Christopher Isherwood
"Twelve Years consists of a series of finely honed anecdotes written in a precise, supple prose rich with sensual detail." --David Ghitelman, "Newsday"
"By turns poetic and picturesque, Agee energetically catalogues his expatriate passage to manhood with a pinpoint eye and a healthy American distaste for pretension. . . . Huckleberry Finn would have . . . welcomed [him] as a soulmate on the raft." --J. D. Reed, "Time"
"A triumph. . . . Unfettered by petty analysis or quick explanations, a story that is timeless and ageless and vital." --Robert Michael Green, "Baltimore Sun"

A genre-bending mystery recalling the work of Alain Robbe-Grillet and anticipating the postmodern fictions of Paul Auster and other contemporary neo-noir novelists. Inspector Barlach forgoes the arrest of a murderer in order to manipulate him into killing another, more elusive criminal. This is a thriller that brings existential philosophy and the detective genre into dazzling convergence