These artful new translations of nine of Arthur Schnitzler's most important stories and novellas-including "Dream Story," on which Stanley Kubrick based his widely acclaimed film Eyes Wide Shut-reinforce the Viennese author's remarkable achievement as literary modernist, depth psychologist, and prose stylist. The psychologically complex and morally ambiguous tales of love and adultery, dream and reality, desire and death in Night Games prove Schnitzler to be fully the equal of his great contemporaries Kafka, Rilke, and Musil, and justify Freud's praise of his knowledge of depth psychology. The collection includes powerful early works such as "The Dead Are Silent" and "Geronimo and His Brother" as well as late masterpieces such as "Night Games" and "Dream Story." Schnitzler creates memorable characters and makes original and masterful use of inner monologue, "stream of consciousness," and unrealiable narrator-techniques that he was among the first, if not the first, to use-to explore the complexities of their inner lives even as he delineates their social world with elegance and wit. The results are comic, tragic, powerful, and psychologically compelling tales of love, sex, and death that often surprise. They are as fresh and relevant to us today, a century later, as when they were first written.

Scarcely anyone understands the psychology of men's relationship with women—in all its complexity, ambivalence, and frequent perversity—better than the turn-of-the-century Viennese writer and dramatist Arthur Schnitzler. Like Vienna itself, birthplace of much of twentieth-century thought in art, philosophy, and psychology, Schnitzler's sensibility is profoundly modern, even postmodern. He probes and records the illusions and delusions, the dreams and desires, the split between the social self and the inner self that are characteristic of the self-alienated man of his time—and ours. In Margret Schaefer's third collection of newly translated fiction from Schnitzler, we find him focusing a clear and unforgiving eye on the minds of men who desire, fantasize about, and try to relate to women. Young or old, they are all bachelors—a young officer (Lieutenant Gustl), a socially desirable lawyer (The Murderer), a middle-aged physician (Doctor Graesler), an aging roué (Casanova's Homecoming). All are looking for women. Yet these are not love stories. Although Schnitzler's topic is relationships, his theme here as elsewhere is isolation—and the losses, fears, self-doubts, and self-absorption that make it inescapable. For no matter how much social and erotic contact the men in these tales have with women, in the end they cannot escape their own terrifying aloneness.

These artful new translations of nine of Schnitzler's most important stories and novellas reinforce the Viennese author's remarkable achievement.