Internationally celebrated Hugarian novelist Laszlo Krasznahorkai has been heralded by Susan Sontag as "the Hungarian master of the apocalypse" and compared favorably to Gogol by W. G. Sebald. A new work by Krasznahorkai is always an event, and The Manhattan Project is no less. As part of Krasznahorkai's fellowship at the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library, he has been working on a novella inspired by a reading of Moby-Dick. Yet, as he follows in Herman Melville's footsteps, a second book alongside the original novella took shape. The Manhattan Project is that book. Offering a unique account of a great literary mind at work, Krasznahorkai reveals here the incidences and coincidences that shape his process of writing and creating. The Manhattan Project explores the act of creation through the lens of Krasznahorkai's encounter with Melville, and it places this vision alongside the work of others who have crossed Melville's path, both literally and fictionally. Presented alongside Krasznahorkai's text are photographs by Ornan Rotem, which trace the encounters of writers and artists with Melville as they crisscross Manhattan, driven by a hunger to unlock the city's inscrutable ways. As Krasznahorkai goes in search of Melville, we journey along with him on the quest for the secret of creativity. The Manhattan Project provides a rare understanding of great literature in the making.

Letterforms are an inseparable part of a civilized literary landscape. At some distant point in history, letters started as representations of things in the world. Then, gradually, through a complex evolutionary process, they came to be defined as the closed shapes of a writing system. This photo-typographic essay is a meditation on this remarkable transition. Exploring the relationship between typography and the visual world around us, the essay looks at the twenty-six letters of the English version of the Roman alphabet in four manners: as the world presenting itself in the shape of a letter, as an intended letter in space, as a flat letter on paper, and finally as a pure geometric form embodied in a typeface. Familiar letterforms are presented in fresh, surprising ways, forming an homage to the beauty of type and a reflection on its ubiquity in our visual understanding of the world around us. Alongside the fascinating images, Ornan Rotem's text offers an overview and a detailed discussion of each letter. In this unusual book, text and image coalesce to create a modern day primer on letters: a typographic abecedarium.

In this playfully designed dual-language edition, Rachel Shihor's stories-published here for the first time in the original Hebrew-appear alongside Ornan Rotem's English translation. Shihor offers a medley of aphorisms, flash fiction, and short stories, carving out a slice of a world in which Kafka would feel at home. The characters that inhabit this world-reckless she-goats, morose fish, somnambulistic theologians, and poignant old ladies, not to mention dying dictators and dead poets-have nothing in common save for the fact that they instruct us on the human condition. In her introduction, Nicole Krauss, author of The History of Love, confirms, "Only a master could make such originality feel inevitable. The only question is why so few people have had the chance to read her." These edifying stories, with all their sadness and humor, are a writer's tour de force and a reader's delight.

Four excerpts from Rachel Shihor's novella Yankinton have been selected, and translated from the Hebrew for this cahier. These poignant and humorous tales are as much about the act of recollection as they are about the remembered Tel Aviv of the 1940s. In a playful and yet muted style, Shihor tells of the everyday life of a child beginning to grasp her surroundings. Six works by the painter David Hendler further explore the city.

In this book, Shlomo Biderman examines the views, outlooks, and attitudes of two distinct cultures: the West and classical India. He turns to a rich and varied collection of primary sources: the "Rg Veda," the Upanishads, and texts by the Buddhist philosophers N?g?rjuna and Vasubandhu, among others. In studying the West, Biderman considers the Bible and its commentaries, the writings of such philosophers as Plato, Descartes, Berkeley, Kant, and Derrida, and the literature of Kafka, Melville, and Orwell. Additional sources are Mozart's "Don Giovanni" and seminal films like Ingmar Bergman's "Persona."

Biderman uses concrete examples from religion and literature to illustrate the formal aspects of the philosophical problems of transcendence, language, selfhood, and the external world and then demonstrates their plausibility in actual situations. Though his method of analysis is comparative, Biderman does not adopt the disinterested stance of an "ideal" spectator. Rather, Biderman approaches ancient Indian thought and culture from a Western philosophical standpoint to uncover cultural presuppositions that can be difficult to expose from within the culture in question.

The result is a fascinating landmark in the study of Indian and Western thought. Through his comparative prism, Biderman explores the most basic ideas underlying human culture, and his investigation not only sheds light on India's philosophical traditions but also facilitates a deeper understanding of our own.