A highly readable and lighthearted, yet intellectual-stimulating exploration of the modern human condition.   This volume concerns itself with the question of time, from the description of a brief fragment passing by in a matter of minutes to stories of the unexpected stock-market crash of 1929, a once-in-a-century event that Europeans call ‘Black Friday’ because Wall Street’s collapse reached the Old World one day later. Through this exploration of time, Kluge ponders some fundamental questions not altered by the passing of time: What can I trust? How can I protect myself? What should I be afraid of? Our age today has achieved a new kind of obscurity. We’ve encountered a pandemic. We’ve witnessed the Capitol riots. We see before us inflation, war, and a burning planet. We gaze at the world with suspense. What we need in our lives is orientation—just like ships that navigate the high seas. We might just find that in Kluge’s vignettes and stories.  

From the winner of the Nobel Prize for Literature 2009 'Just as the father in the house in which we live is our father, so Comrade Nicolae Ceausescu is the father of our country. And just as the mother in the house in which we live is our mother, so Comrade Elena Ceausescu is the mother of our country. Comrade Nicolae Ceausescu is the father of our children. All the children love comrade Nicolae and comrade Elena, because they are their parents.' The Passport is a beautiful, haunting novel whose subject is a German village in Romania caught between the stifling hopelessness of Ceausescu's dictatorship and the glittering temptations of the West. Stories from the past are woven together with the problems Windisch, the village miller, faces after he applies for permission to migrate to West Germany. Herta Muller describes with poetic attention the dreams and superstitions, conflicts and oppression of a forgotten region, the Banat, in the Danube Plain. In sparse, lyrical language, Herta Muller captures the forlorn plight of a trapped people. This edition is translated by Martin Chalmers, with a new foreword by Paul Bailey. Also by Herta Muller: Nadirs, The Land of Green Plums, The Appointment, and The Hunger Angel.

Growing up in Saddam Hussein's Iraq, a young Kurdish boy named Kerim has ample opportunity to witness the murderous repression that defined the era for thousands of Iraqis. In Sherko Fatah's The Dark Ship, we experience an extraordinary new voice in fiction, which tells the story of the kind of trauma and striving that leads a man from religious extremism to a vain hope for redemption. We follow Kerim from the fading memories of his childhood to his life running his family's roadside restaurant. Captured by jihadists, he reluctantly joins the group, and grows fascinated with their charismatic leader. After a narrow escape from martyrdom and a difficult passage to Europe, Kerim, tormented by memories of his violent past, is unable to find his place in his new country. Turning yet again to his faith, he finds solace in the fundamentalist mosques of his new city. But it isn't long before he learns once again that he cannot escape his history, his culture, or his own doubts. At once a thriller and a political narrative, The Dark Ship tracks the Kurdish experience from the war-torn mountains of northern Iraq to the bureaucracies and mosques of Berlin in a gripping journey across land and water, through ideology and faith.

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. In stories drawn from modern history and the contemporary moment, from mythology, and even from meteorology, Kluge toys as readily with time and space as he does with his characters. In the narrative entry for December 1931, Adolf Hitler avoids a car crash by inches. In another, we relive Greek financial crises. There are stories where time accelerates, and others in which it seems to slow to the pace of falling snow. In Kluge's work, power seems only to erode and decay, never grow, and circumstances always seem to elude human control. When a German commander outside Moscow in December of 1941 remarks, "We don't need weapons to fight the Russians but a weapon to fight the weather," the futility of his struggle is painfully present. Accompanied by the ghostly and wintry forest scenes captured in Gerhard Richter's photographs, these stories have an alarming density, one that gives way at unexpected moments to open vistas and narrative clarity. Within these pages, the lessons are perhaps not as comforting as in the old calendar stories, but the subversive moralities are always instructive and perfectly executed. Praise for Alexander Kluge"More than a few of Kluge's many books are essential, brilliant achievements. None are without great interest."-Susan Sontag "Alexander Kluge, that most enlightened of writers."-W.G. Sebald

A powerful work by the heralded writer, this collection is a touchstone event in German literature of the post-war era. 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 mid-sized 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. 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. The English edition of Air Rair includes additional new stories by the author and features an appreciation of the work by W. G. Sebald. "More than a few of Kluge's many books are essential, brilliant achievements. None are without great interest."-Susan Sontag

In these 99 meditations, poet and novelist Hans Magnus Enzensberger celebrates the tenacity of the normal and routine in everyday life, where the survival of the objects we use without thinking--a pair of scissors, perhaps--is both a small, human victory and a quiet reminder of our own ephemeral nature. He sets his quotidian reflections against a broad historical and political backdrop: the cold war and its accompanying atomic threat; the German student revolt; would-be socialism in Cuba, China, and Africa; and World War II as experienced by the youthful poet. Enzensberger's poems are conversational, skeptical, and serene; they culminate in the extended set of observations that gives the collection its title. Clouds, alien and yet symbols of human life, are for Enzensberger at once a central metaphor of the Western poetic tradition and "the most fleeting of all masterpieces." "Cloud archaeology," writes Enzensberger, is "a science for angels." Praise for the German edition "After reading this wonderful volume of poetry one would like to call Enzensberger simply the lyric voice of transience."-- Sueddeutsche Zeitung "With this book Enzensberger reveals himself both as a spokesman of persistence and as a decelerator."--Neue Zuercher Zeitung

"His manner of speaking, like that of all the subordinated, excluded, was awkward, like a body full of wounds, into which at any time anyone can strew salt, yet so insistent, that it is painful to listen to him," from The Carpenter The Austrian playwright, novelist, and poet Thomas Bernhard (1931-89) is acknowledged as among the major writers of our time. The seven stories in this collection capture Bernhard's distinct darkly comic voice and vision--often compared to Kafka and Musil--commenting on a corrupted world. First published in German in 1967, these stories were written at the same time as Bernhard's early novels Frost, Gargoyles, and The Lime Works, and they display the same obsessions, restlessness, and disarming mastery of language. Martin Chalmer's outstanding translation, which renders the work in English for the first time, captures the essential personality of the work. The narrators of these stories lack the strength to do anything but listen and then write, the reader in turn becoming a captive listener, deciphering the traps laid by memory--and the mere words, the neverending words with which we try to pin it down. Words that are always close to driving the narrator crazy, but yet, as Bernhard writes "not completely crazy." "Bernhard's glorious talent for bleak existential monologues is second only to Beckett's, and seems to have sprung up fully mature in his mesmerizing debut."--From Publishers Weekly, on Frost "The feeling grows that Thomas Bernhard is the most original, concentrated novelist writing in German. His connections . . . with the great constellation of Kafka, Musil, and Broch become ever clearer." --George Steiner, Times Literary Supplement, on Gargoyles

Stories of Mr. Keuner gathers Bertolt Brecht's fictionalized comments on politics, everyday life, and exile. Written from the late 1920s till the late 1950s, Stories of Mr. Keuner is the precipitate of Brecht's experience of a world in political and cultural flux, a world of revolution, civil war, world war, cultural efflorescence, Nazism, Stalinism, and the Cold War -- in short, the first half of the twentieth century. Mr. Keuner said: "I, too, once adopted an aristocratic stance (you know: erect, upright, and proud, head thrown back). I was standing in rising water at the time. I adopted this posture when it rose to my chin." "At first, they appear almost innocuous, these so-called stories, anecdotal fragments often of a single page or less. Brecht's scenarios seem so simple, his style so direct. He expressly wished what he wrote to be useful. Here he succeeded brilliantly: These pieces are small enough to be carried away whole, but what they say is big enough to be equal to the reader." --Johnathon Keats, SF Gate "Stories of Mr. Keuner finally puts in English translation this startling and stunning body of work, not only encouraging a broader appreciation of a playwright famed for fighting inhumanity in his time, but also effectively questioning integrity in our own day." --San Francisco Chronicle Book Review "The first English translation of the great playwright's discursive semifictionalized observations on German life and politics, as spoken by the eponymous Keuner (his name from the German "keiner," meaning "no man"), a "thinking man" obviously inspired by Plato's Socrates. Written between the 1920s and '50s (and collected for the first publication in 1956, the year of Brecht's death), they're brief (often single-paragraph) apercus generally employed to deflate contemporary pretensions regarding religion, patriotism, capitalism, exile, and other themes engaged more fully in their author's celebrated poems and plays (e.g., "I am for justice; so it's good if the place in which I'm staying has more than one exit"), but most effectively adumbrated in this revealing coda to an indisputably major, and still challenging, body of work." --Kirkus Reviews Bertolt Brecht wrote The Threepenny Opera, Mahagonny, Mother Courage, The Life of Galileo, and many other plays, poems, and theoretical writings. Ardent antifascist, friend to Walter Benjamin, and wily ally of the COmmunists, Brecht was often on the run, "changing countries more than shoes." As Hitler's armies advanced, Brecht fled to Denmark, Sweden, Finland, and the U.S. before finally settling in East Germany after the war, where he became director of the renowned Berliner Ensemble. Martin Chalmers (1948-2014) had translated works by Victor Klemperer, Hans Magnus Enzensberger, Hubert Fichte, and Elfriede Jelinek, among others. Mr. Chalmers lived in London, where he wrote extensively on German literature, film, history, and culture.

The setting is an idyllic Alpine village where a woman's underwear factory nestles in the woods. Two factory workers, Brigitte and Paula, dream and talk about finding happiness, a comfortable home and a good man. They realize that their quest will be as hard as work at the factory. Brigitte subordinates her feelings and goes for for Heinz, a young, plump, up-and-coming businessman. With Paula, feelings and dreams become confused. She gets pregnant by Erich, the forestry worker. He's handsome, so they marry. Brigitte gets it right. Paula gets it wrong. Using the conventions and language of romantic fiction, Elfriede Jelinek has written a moving tragedy whose power lies in its refusal to take at face value its characters' dreams and aspirations.

The Silences of Hammerstein engages readers with a blend of a documentary, collage, narration, and fictional interviews. The gripping plot revolves around the experiences of real-life German General Kurt von Hammerstein and his wife and children. A member of an old military family, a brilliant staff officer, and the last commander of the German army before Hitler seized power, Hammerstein, who died in 1943 before Hitler’s defeat, was nevertheless an idiosyncratic character. Too old to be a resister, he retained an independence of mind that was shared by his children: three of his daughters joined the Communist Party, and two of his sons risked their lives in the July 1944 Plot against Hitler and were subsequently on the run till the end of the war. Hammerstein never criticized his children for their activities, and he maintained contacts with the Communists himself and foresaw the disastrous end of Hitler’s dictatorship. In The Silences of Hammerstein, Hans Magnus Enzensberger offers a brilliant and unorthodox account of the military milieu whose acquiescence to Nazism consolidated Hitler’s power and of the heroic few who refused to share in the spoils.

"Summer Resort," the first novel by noted translator Esther Kinsky, is set in a village somewhere on the endless Hungarian plain. It is the hottest summer in memory and everyone in the village dreams of the sweet life in udulo, a summer resort on a river. The characters that populate "Summer Resort" tell stories--comic, tragic, or both--of life in rural Hungary. Tales of onion kings and melon pickers, of scrapyards and sugar beet factories, paint a vivid and human picture of their world.

In the course of the novel, the storytellers' paths intersect at the summer resort with the bar owner Lacibacsi, the Kozak Boys and their fat and pale wives, and the builder Antal, who introduces a mysterious new woman to the inhabitants of the resort. The stranger disrupts their otherwise staid summer routines--with surprising, unpredictable consequences.

Now available for the first time in English, "Summer Resort "brings to a new audience one of the most distinctive emerging voices in recent German writing.

Essays cover Eurocentrism, democracy in modern Germany, economic policies, and socialism.

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.

Kurt Janisch is an ambitious, but frustrated country policeman. Things are not going right in his life - at least not fast enough. But a country policeman gets talking to a lot of people in the line of duty - particularly women. Lonely, middle-aged women, women with a bit of property perhaps... Matters go from bad to worse: for Kurt Janisch, for the women who fall for him. Someone sees too much, knows too much. Soon there's a body in a lake and a murderer to be caught. A thriller set amid the mountains and small towns of southern Austria, Greed is Elfriede Jelinek's most accessible novel since The Piano Teacher. But as always Jelinek gives the reader a lot more to think about: the ecological costs of affluence, the inescapable burden and inadequacy of our everyday words, the exploitative nature of relations between men and women, the impossibility of life without relationships. A meditative reflection on ageing, Greed is another chapter in Jelinek?s chronicling of her love/hate relationship with Austria.

Scathingly clever short stories. Includes "The Devil in the White House" and "The Development of Iraq as a Case for the Files." At once a genuine story-teller and a literary documentarian, Alexander Kluge's genius lies in the very special way he makes found material his own. Each of the miniatures collected here touches on "facts" and is only several pages long. In just a paragraph he can etch a whole world: he is as great a master of compression as Kafka or Kawabata. Arranged in five chapters, the dozens of stories of The Devil's Blind Spot are condensed, like novels in pill form. The first group of stories illustrates the little-known virtues of the Devil. The second explores love from Kant and opera through the Grand Guignol. The third is entitled "Sarajevo Is Everywhere" and tests how convincing power is. The fourth group concerns the cosmos, and the fifth ranges all our "knowledge" against our feelings. In each piece, Kluge alights on precise particulars: on board the atomic submarine Kursk, for instance, we are marched precisely step by step through a black comedy of the exact, disastrous stages of thinking that lead to catastrophe. Sample titles include "The Devil in the White House," "The Development of Iraq as a Case for the Files," "Intelligence of the Second Degree," and "Love's Mouth Also Kisses the Dog."

"The Silences of Hammerstein," the latest work from one of Germany's most significant contemporary authors, engages readers with a blend of a documentary, collage, narration, and fictional interviews. The gripping plot revolves around the experiences of real-life German General Kurt von Hammerstein and his wife and children. A member of an old military family, a brilliant staff officer, and the last commander of the German army before Hitler seized power, Hammerstein, who died in 1943 before Hitler's defeat, was nevertheless an idiosyncratic character. Too old to be a resister, he retained an independence of mind that was shared by his children: three of his daughters joined the Communist Party, and two of his sons risked their lives in the July 1944 Plot against Hitler and were subsequently on the run till the end of the war. Hammerstein never criticized his children for their activities, and he maintained contacts with the Communists himself and foresaw the disastrous end of Hitler's dictatorship.

In "The Silences of Hammerstein," Hans Magnus Enzensberger offers a brilliant and unorthodox account of the military milieu whose acquiescence to Nazism consolidated Hitler's power and of the heroic few who refused to share in the spoils.