"One of the greatest poets and dramatists of our century" (Observer) Brecht's Lehrstucke or short 'didactic' pieces written during the years 1929 to 1933, are some of his most experimental work. Rejecting conventional theatre, they are spare and highly formalised, drawing on traditional Japanese and Chinese theatre. They show Brecht in collaboration with the composers Hindemith, Weill and Eisler, influenced by the new techniques of montage in the visual arts and seeking new means of expression. Brecht intended them for performance by schools, workers' groups and choral societies rather than by professionals, with the idea that the moral and political lessons contained in them are best conveyed by participating in an actual production. In addition to the Lehrstucke, the volume contains The Mother, a longer play, again with music by Eisler, based on the novel by Gorky. A story of dawning political consciousness, told with irony and narrative drive, its central character is one of Brecht's great female roles. The original production starred Brecht's wife Helene Weigel and Brecht was buried with the red flag that was a prop in the production.

Set in 1960, Nobel Prize winner Peter Handke's Repetition narrates Filip Kobal's journey from his home in Carinthia to Slovenia on the trail of his brother Gregor, who disappeared in the region after deserting from the German army and joining the Partisans. He takes with him two books that had belonged to Gregor: a copybook from agricultural college, which mainly concerns the care and grafting of fruit trees, and a Slovene-German dictionary, in which Gregor has marked certain words. The resulting investigation of the laws of language and naming becomes a transformative investigation of himself and the world around him.

Everyone knows that Bertolt Brecht was one of the great 20th-century innovators in theatre - the literary-theatrical equivalent of a Picasso or Stravinsky - and Germany's greatest poet of the last century, but the playwright was also a dazzling writer of stories. Storytelling permeated his art as a dramatist; fundamentally in his plays he was a storyteller. This volume collects the complete short stories written by Brecht, including the prize-winning 'The Monster', and the fragmentary memoir ghost-written by Brecht, 'Life Story of the boxer Samson-Korner'. Brecht scholars Marc Silberman and Shuhsi Kao provide an introduction and editorial notes.Fans of Brecht will find in the 37 stories assembled here the same directness, lack of affectation, and wry humour that characterise his plays. Every lover of short stories will discover an unexpected trove of pleasure in this "mine for short-story addicts" ("Observer").

Momo has been one of the ever-changing ragbag of whores' children at Madame Rosa's boarding house in Paris ever since he can remember. But when the check that pays for his keep no longer arrives and as Madame Rosa becomes too ill to climb the stairs to their apartment, he determines to support her any way he can. This sensitive, slightly macabre love story between Momo and Madame Rosa has a supporting cast of transvestites, pimps, and witch doctors from Paris's immigrant slum, Belleville. Profoundly moving, The Life Before Us won France's premier literary prize, the Prix Goncourt.

WINNER OF THE NOBEL PRIZE FOR LITERATURE 2019

'One of the best and most important books written in German in our time' Karl Ove Knausgaard

'A devastating sliver of a book' Maggie Nelson

'Moving and beautifully realized... nearly perfect' New York Times Book Review

'Handke's sharp eye is always finding a strange beauty' Jeffrey Eugenides

This is Peter Handke's extraordinary confrontation with his mother's death. In a painful and courageous attempt to deal with the almost intolerable horror of her suicide, the eminent Austrian novelist and playwright sets out to piece together the facts of her life. What emerges is a loving portrait of inconsolable grief, and of a woman whose lively spirit has been crushed not once but over and over again by the miseries of her place and time. In stark, lucid prose, Handke reckons with his mother's life as it spans the rise of fascism, World War Two and post-war suffering.

First published in 1932, Journey to the End of the Night was immediately acclaimed as a masterpiece and a turning point in French literature. Told in the first person by Celine's fictional alter ego Bardamu, the novel is loosely based on the author's own experiences during the First World War, in French colonial Africa, in the USA and, later, as a young doctor in a working-class suburb in Paris. Celine's disgust with human folly, malice, greed and the chaotic state in which man has left society lies behind the bitterness that distinguishes his idiosyncratic, colloquial and visionary writing and gives it its force.

Death on the Installment Plan is a companion volume to Louis-Ferdinand Celine's earlier novel, Journey to the End of the Night. Published in rapid succession in the middle 1930s, these two books shocked European literature and world consciousness. Nominally fiction but more rightly called "creative confessions," they told of the author's childhood in excoriating Paris slums, of service in the mud wastes of World War I and African jungles. Mixing unmitigated despair with Gargantuan comedy, they also created a new style, in which invective and obscenity were laced with phrases of unforgettable poetry. Celine's influence revolutionized the contemporary approach to fiction. Under a cloud for a period, his work is now acknowledged as the forerunner of today's "black humor."

This landmark book explores the Great Mother as a primordial image of the human psyche. Here the renowned analytical psychologist Erich Neumann draws on ritual, mythology, art, and records of dreams and fantasies to examine how this archetype has been outwardly expressed in many cultures and periods since prehistory. He shows how the feminine has been represented as goddess, monster, gate, pillar, tree, moon, sun, vessel, and every animal from snakes to birds. Neumann discerns a universal experience of the maternal as both nurturing and fearsome, an experience rooted in the dialectical relation of growing consciousness, symbolized by the child, to the unconscious and the unknown, symbolized by the Great Mother. Featuring a new foreword by Martin Liebscher, this Princeton Classics edition of The Great Mother introduces a new generation of readers to this profound and enduring work.

With an undercurrent of sensual excitement, C?line paints an almost unbearably vivid picture of society and the human condition.

When Celine's first novel, Journey to the End of the Night was first published in 1932, it created an instant scandal, being extravagantly praised by its supporters and savagely attacked by its horrified opponents. Four years later came the sequel, Death on Credit. Both were a new kind of novel, frank about the author's thoughts and actions in ways that readers had never encountered, ultra-realistic - and full of incidents that could not possibly be true to life - and characters that stretched the imagination. In Death on Credit, Ferdinand Bardamu, Celine's alter ego, is a doctor in Paris, treating the poor who seldom pay him but who take every advantage of his availability. The action is not continuous but goes back in time to earlier memories and often moves into fantasy, especially in Bardamu's sexual escapades; the style becomes deliberately rougher and sentences disintegrate to catch the flavour of the teeming world of everyday Parisian tragedies, the struggle to make a living, illness, venereal disease, the sordid stories of families whose destiny is governed by their own stupidity, malice, lust and greed. This fascinating book by one of the greatest twentieth-century novelists is an unforgettable experience for the reader.

"The Sunday edition of the "Karntner Volkszeitung "carried the following item under 'Local News' 'In the village of A. (G. township), a housewife, aged 51, committed suicide on Friday night by taking an overdose of sleeping pills.'"

So opens "A Sorrow Beyond Dreams, "the eminent Austrian novelist and playwright Peter Handke's reckoning with his mother's life--which spanned the rise of the Nazis, World War II, and postwar suffering--and death. Both stark and lyrical, full of love, anger, admiration, and a keen sense of history, this slim book reveals Handke at his most lucid and direct. It is the most moving and accessible work in his distinguished career; it is "indispensable" (Bill Marx, "The Boston Globe").

One of Bertolt Brecht's best-loved and most performed plays, The Threepenny Opera was first staged in 1928 at the Theater am Schiffbauerdamm, Berlin (now the home of the Berliner Ensemble). Based on the eighteenth-century The Beggar's Opera by John Gay, the play is a satire on the bourgeois society of the Weimar Republic, but set in a mock-Victorian Soho. With Kurt Weill's music, which was one of the earliest and most successful attempts to introduce the jazz idiom into the theatre, it became a popular hit throughout the western world. This new edition is published here in John Willett and Ralph Manhein's classic translation with commentary and notes by Anja Hartl.

"Henry Corbin's works are the best guide to the visionary tradition.... Corbin, like Scholem and Jonas, is remembered as a scholar of genius. He was uniquely equipped not only to recover Iranian Sufism for the West, but also to defend the principal Western traditions of esoteric spirituality."--From the introduction by Harold Bloom

Ibn 'Arabi (1165-1240) was one of the great mystics of all time. Through the richness of his personal experience and the constructive power of his intellect, he made a unique contribution to Shi'ite Sufism. In this book, which features a powerful new preface by Harold Bloom, Henry Corbin brings us to the very core of this movement with a penetrating analysis of Ibn 'Arabi's life and doctrines.

Corbin begins with a kind of spiritual topography of the twelfth century, emphasizing the differences between exoteric and esoteric forms of Islam. He also relates Islamic mysticism to mystical thought in the West. The remainder of the book is devoted to two complementary essays: on "Sympathy and Theosophy" and "Creative Imagination and Creative Prayer." A section of notes and appendices includes original translations of numerous Su fi treatises.

Harold Bloom's preface links Sufi mysticism with Shakespeare's visionary dramas and high tragedies, such as "The Tempest" and "Hamlet." These works, he writes, intermix the empirical world with a transcendent element. Bloom shows us that this Shakespearean cosmos is analogous to Corbin's "Imaginal Realm" of the Sufis, the place of soul or souls.

Along with Mother Courage, the character of Galileo is one of Brecht's greatest creations, immensely live, human and complex. Unable to resist his appetite for scientific investigation, Galileo's heretical discoveries about the solar system bring him to the attention of the Inquisition. He is scared into publicly abjuring his theories but, despite his self-contempt, goes on working in private, eventually helping to smuggle his writings out of the country.As an examination of the problems that face not only the scientist but also the whole spirit of free inquiry when brought into conflict with the requirements of government or official ideology, Life of Galileo has few equals.Written in exile in 1937-9 and first performed in Zurich in 1943, Galileo was first staged in English in 1947 by Joseph Losey in a version jointly prepared by Brecht and Charles Laughton, who played the title role. Printed here is the complete translation by Brecht scholar John Willett. The much shorter Laughton version is also included in full as an appendix, along with Brecht's own copious notes on the play making this the most trusted scholarly edition of the text.

A rediscovered masterpiece: an unblinking view of the Holocaust through a child's eyes
Told from the perspective of a child slowly awakening to the atrocities surrounding him, "Childhood "is a searing story of the Holocaust that no reader will soon forget. As five-year-old Jona waits with his mother and father to emigrate from Nazi-occupied Amsterdam to Palestine, they are awakened at night, put on a train, and eventually interred in the camps at Bergen-Belsen. There, what at first seems to be a merely dreary existence soon reveals itself to be one of the worst horrors humanity has ever created. A triumph of heartrending clarity and dispassionate amazement, "Childhood "stands tall alongside such monuments of Holocaust literature as "The Diary of Anne Frank, "Elie Wiesel's" Night, "and "Primo Levi's Survival in Auschwitz."

WINNER OF THE NOBEL PRIZE FOR LITERATURE 'Repetition made a great and, as I have since learned, lasting impression on me' W. G. Sebald Filip Kobal, an Austrian teenager, is on the trail of his missing older brother Gregor, who he never knew. All he has is two of Gregor's books: a school copy book, and a dictionary in which certain words have been marked. As he enters Slovenia on his journey, Filip discovers something else entirely: the transformative power of language to describe the world, and the unnerving joy of being an outsider in a strange land. 'One of the most moving evocations I have ever read of what it means to be alive, to walk upon this earth' Gabriel Josipovici Translated by Ralph Manheim

Louis-Ferdinand Celine's revulsion and anger at what he considered the idiocy and hypocrisy of society explodes from nearly every page of this novel. Filled with slang and obscenities and written in raw, colloquial language, Journey to the End of the Night is a literary symphony of violence, cruelty and obscene nihilism. This book shocked most critics when it was first published in France in 1932, but quickly became a success with the reading public in Europe, and later in America where it was first published by New Directions in 1952. The story of the improbable yet convincingly described travels of the petit-bourgeois (and largely autobiographical) antihero, Bardamu, from the trenches of World War I, to the African jungle, to New York and Detroit, and finally to life as a failed doctor in Paris, takes the readers by the scruff and hurtles them toward the novel's inevitable, sad conclusion.

From the famous siege of Constantinople in 1453 through the numerous other campaigns that securely established the Ottoman Empire, the events in the life of the emperor Mehmed II are the subject of this classic biography. One of the most important figures in Ottoman history, Mehmed was the architect of victories that inspired fear throughout Europe and contributed to an image of the Turk prevalent in Western art and literature for many years. "Fascinating. . . . From the Western viewpoint, Mehmed was seen as the man who gave the death blow to Byzantium, destroying the last vestige of the Eastern Roman Empire. Not surprisingly, the Turks regard him as the greatest of all sultans, a figure unparalleled in the history of the world for military prowess, statecraft, patronage of the arts and sciences."--Robert Kirsch, The Los Angeles Times Book Review "The definitive scholarly biography of the Ottoman emperor who in 1453 conquered Constantinople. . . . Mehmed's career is a study of battle, murder, and sudden death, of brutality, perfidy, and spite, with no moral superiority awardable to either Christians or Muslims."--The New Yorker

Herman Hesse remained clear-sighted and consistent in his political views and his passionate espousal of pacifism and the bloody absurdity of war from the start of the First World War to the end of his life. He wrote the earliest essay in this book in September 1914, before he cemented his fame with the novels Steppenwolf and Siddhartha, and continued writing a stream of letters, essays and pamphlets throughout the war. In his native Germany his views earned him the labels 'traitor' and 'viper', but after World War II he was moved to reiterate his beliefs in another series of essays and letters. If the War Goes On . . . resonates as strongly today as it did when originally published and begs the question: have our politicians learnt nothing in the last seventy years?