Thomas Mann arrived in Princeton in 1938, in exile from Nazi Germany, and feted in his new country as "the greatest living man of letters." This beautiful new book from literary critic Stanley Corngold tells the little known story of Mann's early years in America and his encounters with a group of highly gifted emigres in Princeton, which came to be called the Kahler Circle, with Mann at its center. The Circle included immensely creative, mostly German-speaking exiles from Nazism, foremost Mann, Erich Kahler, Hermann Broch, and Albert Einstein, all of whom, during the Circle's nascent years in Princeton, were "stupendously" productive. In clear, engaging prose, Corngold explores the traces the Circle left behind during Mann's stay in Princeton, treating literary works and political statements, anecdotes, contemporary history, and the Circle's afterlife. Weimar in Princeton portrays a fascinating scene of cultural production, at a critical juncture in the 20th century, and the experiences of an extraordinary group of writers and thinkers who gathered together to mourn a lost culture and to reckon with the new world in which they had arrived.

The first complete account of the ideas and writings of a major figure in twentieth-century intellectual life Walter Kaufmann (1921-1980) was a charismatic philosopher, critic, translator, and poet who fled Nazi Germany at the age of eighteen, emigrating alone to the United States. He single-handedly rehabilitated Nietzsche's reputation after World War II and was enormously influential in introducing postwar American readers to existentialism. Stanley Corngold provides the first in-depth study of Kaufmann's thought, showing how he speaks to many issues that concern us today. Kaufmann was astonishingly prolific until his untimely death at age fifty-nine, writing some dozen major books, all marked by breathtaking erudition and a provocative essayistic style. Corngold introduces Kaufmann to a new generation of readers, vividly portraying the intellectual life of one of the twentieth century's most engaging and neglected thinkers.

"Complex Pleasure" deals with questions of literary feeling in eight major German writers--Lessing, Kant, Holderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition--fiction, poetry, critique--can be illuminated through their treatment of literary feeling; and, finally, that the conceptual terms for these forms of feeling continually vary.
The types of feeling treated in "Complex Pleasure" include wit (the startling perception of likeness) and the disinterested pleasure of aesthetic judgment; Holderlin's "swift conceptual grasp," in which "the "tempo" of the process of thought is stressed"; "artistic imagination," mood, sadistic enjoyment, rapturous distraction, homonymic dissonance, and courage as a mode of literary experience. At the same time, through the deftness, range, and surprise of its execution, the book itself conveys complex pleasure. The reader will also find fascinating, hitherto untranslated material by Nietzsche ("On Moods") and Kafka (important sections from his journals and from his unfinished novel "The Boy Who Sank Out of Sight").

"Complex Pleasure" deals with questions of literary feeling in eight major German writers--Lessing, Kant, Holderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition--fiction, poetry, critique--can be illuminated through their treatment of literary feeling; and, finally, that the conceptual terms for these forms of feeling continually vary.
The types of feeling treated in "Complex Pleasure" include wit (the startling perception of likeness) and the disinterested pleasure of aesthetic judgment; Holderlin's "swift conceptual grasp," in which "the "tempo" of the process of thought is stressed"; "artistic imagination," mood, sadistic enjoyment, rapturous distraction, homonymic dissonance, and courage as a mode of literary experience. At the same time, through the deftness, range, and surprise of its execution, the book itself conveys complex pleasure. The reader will also find fascinating, hitherto untranslated material by Nietzsche ("On Moods") and Kafka (important sections from his journals and from his unfinished novel "The Boy Who Sank Out of Sight").

This Norton Critical Edition is based on new translations by leading Kafka scholar and translator Stanley Corngold. Thirty stories are included, accompanied by detailed annotations. "Backgrounds and Contexts" offers a glimpse of Kafka’s creative process through extracts from his letters, diaries, and conversations. "Criticism" collects ten essays on the major stories by Stanley Corngold, Danielle Allen, Walter Hinderer, Walter Sokel, Nicola Gess, Vivian Liska, Benno Wagner, John A. Hargraves, and Gerhard Kurz. A Chronology and Selected Bibliography are also included.

Thomas Mann arrived in Princeton in 1938, in exile from Nazi Germany, and feted in his new country as "the greatest living man of letters." This beautiful new book from literary critic Stanley Corngold tells the little known story of Mann's early years in America and his encounters with a group of highly gifted emigres in Princeton, which came to be called the Kahler Circle, with Mann at its center. The Circle included immensely creative, mostly German-speaking exiles from Nazism, foremost Mann, Erich Kahler, Hermann Broch, and Albert Einstein, all of whom, during the Circle's nascent years in Princeton, were "stupendously" productive. In clear, engaging prose, Corngold explores the traces the Circle left behind during Mann's stay in Princeton, treating literary works and political statements, anecdotes, contemporary history, and the Circle's afterlife. Weimar in Princeton portrays a fascinating scene of cultural production, at a critical juncture in the 20th century, and the experiences of an extraordinary group of writers and thinkers who gathered together to mourn a lost culture and to reckon with the new world in which they had arrived.

Leading international Kafka scholars face the challenges Kafka poses in the new millennium. Franz Kafka's literary career began in the first decade of the twentieth century and produced some of the most fascinating and influential works in all of modern European literature. Now, a hundred years later, the concerns of a new century call for a look at the challenges facing Kafka scholarship in the decades ahead: What more can we hope to learn about the context in which Kafka wrote? How does understanding that context affect how we read his stories?What are the consequences of new critical editions that offer unprecedented access to Kafka's works in manuscript form? How does our view of Kafka change the priorities and fashions of literary scholarship? What elements in Kafka's fiction will find resonance in the historical context of a new millennium? How do we compose a coherent account of a personality with so many contradictory aspects? All these questions and more are addressed by the essays in this volume, written by a group of leading international Kafka scholars. Contributors: Peter Beicken, Iris Bruce, Jacob Burnett, Uta Degner, Doreen Densky, Katja Garloff, Rolf Goebel, Mark Harman, Robert Lemon, Roland Reuss, Ritchie Robertson, Walter Sokel, John Zilcosky, Saskia Ziolkowski. Stanley Corngold is Professor Emeritus of German and Comparative Literature at Princeton University. Ruth V. Gross is Professor of German and Head ofthe Department of Foreign Languages and Literatures at North Carolina State University.

Franz Kafka: The Office Writings brings together, for the first time in English, Kafka's most interesting professional writings, composed during his years as a high-ranking lawyer with the largest Workmen's Accident Insurance Institute in the Czech Lands of the Austro-Hungarian Empire. Franz Kafka (1883-1924) is commonly recognized as the greatest German prose writer of the twentieth century. It is less well known that he had an established legal career. Kafka's briefs reveal him to be a canny bureaucrat, sharp litigator, and innovative thinker on the social, political, and legal issues of his time. His official preoccupations inspired many of the themes and strategies of the novels and stories he wrote at night. These documents include articles on workmen's compensation and workplace safety; appeals for the founding of a psychiatric hospital for shell-shocked veterans; and letters arguing relentlessly for a salary adequate to his merit. In adjudicating disputes, promoting legislative programs, and investigating workplace sites, Kafka's writings teem with details about the bureaucracy and technology of his day, such as spa elevators in Marienbad, the challenge of the automobile, and the perils of excavating in quarries while drunk. Beautifully translated, with valuable commentary by two of the world's leading Kafka scholars and one of America's most eminent civil rights lawyers, the documents cast rich light on the man and the writer and offer new insights to lovers of Kafka's novels and stories.

"When Gregor Samsa woke up one morning from  unsettling dreams, he found himself changed in his  bed into a monstrous vermin." With this  startling, bizarre, yet surprisingly funny first  sentence, Kafka begins his masterpiece, The  Metamorphosis. It is the story of a  young man who, transformed overnight into a giant  beetlelike insect, becomes an object of disgrace to  his family, an outsider in his own home, a  quintessentially alienated man. A harrowing -- though  absurdly comic -- meditation on human feelings of  inadequecy, guilt, and isolation, The  Metamorphosis has taken its place as one  of the mosst widely read and influential works of  twentieth-century fiction. As W.H. Auden wrote,  "Kafka is important to us because his predicament  is the predicament of modern man."

A masterpiece of European imagination, The Sufferings of Young Werther is the classic Sturm und Drang tale of youthful angst and tragedy. The acclaimed translator Stanley Corngold brings new passion and precision to Goethe's timeless novel of obsessive love and madness in this magnificent new translation. Goethe's themes of unrequited love, the pain of rejection, deepening despair, and their tragic consequences are as relevant today as when the novel was first published in 1774. His hugely influential novel informed the writing of, among others, Franz Kafka and Thomas Mann. In translating The Sufferings of Young Werther, Corngold follows the German text closely, never knowingly using a word that was not current in English at the time the novel was written and yet maintaining a modern grace and flair. The result is an eagerly awaited translation that speaks to our time through the astonishing liveliness of Goethe's language as well through the translator's own."

Originally published in 1959, The Faith of a Heretic is the most personal statement of the beliefs of Nietzsche biographer and translator Walter Kaufmann. A first-rate philosopher in his own right, Kaufmann here provides the fullest account of his views on religion. Although he considered himself a heretic, he was not immune to the wellsprings and impulses from which religion originates, declaring it among the most vital and radical expressions of the human mind. Beginning with an autobiographical prologue that traces his evolution from religious believer to "heretic," the book touches on theology, organized religion, morality, suffering, and death--all examined from the perspective of a "quest for honesty." Kaufmann also subjects philosophy's faith in truth, reason, and absolute morality to the same heretical treatment. The resulting exploration of the faiths of a nonbeliever in a secular age is as fresh and challenging as when it was first published. In a new foreword, Stanley Corngold vividly describes the intellectual and biographical milieu of Kaufmann's provocative book.

On the night of September 22, 1912, Franz Kafka wrote his story "The Judgment," which came out of him "like a regular birth." This act of creation struck him as an unmistakable sign of his literary destiny. Thereafter, the search of many of his characters for the Law, for a home, for artistic fulfillment can be understood as a figure for Kafka's own search to reproduce the ecstasy of a single night.

In "Lambent Traces: Franz Kafka," the preeminent American critic and translator of Franz Kafka traces the implications of Kafka's literary breakthrough. Kafka's first concern was not his responsibility to his culture but to his fate as literature, which he pursued by exploring "the limits of the human." At the same time, he kept his transcendental longings sober by noting--with incomparable irony--their virtual impossibility.

At times Kafka's passion for personal transcendence as a writer entered into a torturous and witty conflict with his desire for another sort of transcendence, one driven by a modern Gnosticism. This struggle prompted him continually to scrutinize different kinds of mediation, such as confessional writing, the dream, the media, the idea of marriage, skepticism, asceticism, and the imitation of death. "Lambent Traces: Franz Kafka" concludes with a reconstruction and critique of the approaches to Kafka by such major critics as Adorno, Gilman, and Deleuze and Guattari..

'When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a monstrous vermin.' With this startling, bizarre, yet surprisingly funny first sentence, Franz Kafka begins his masterpiece, 'The Metamorphosis'.

In Stanley Corngold's view, the themes and strategies of Kafka's fiction are generated by a tension between his concern for writing and his growing sense of its arbitrary character. Analyzing Kafka's work in light of "the necessity of form," which is also a merely formal necessity, Corngold uncovers the fundamental paradox of Kafka's art and life. The first section of the book shows how Kafka's rhetoric may be understood as the daring project of a man compelled to live his life as literature. In the central part of the book, Corngold reflects on the place of Kafka within the modern tradition, discussing such influential precursors of Cervantes, Flaubert, and Nietzsche, whose works display a comparable narrative disruption. Kafka's distinctive narrative strategies, Corngold points out, demand interpretation at the same time they resist it. Critics of Kafka, he says, must be aware that their approaches are guided by the principles that Kafka's fiction identifies, dramatizes, and rejects.

Much recent critical theory has dismissed or failed to take seriously the question of the self. French theorists--such as Derrida, Barthes, Benveniste, Foucault, Lacan, and Levi-Strauss--have in various ways proclaimed the death of the subject, often turning to German intellectual tradition to authorize their views. Stanley Corngold's heralded book, The Fate of the Self, published for the first time in paperback with a spirited new preface, appears at a time when the relationship between the self and literature is a matter of renewed concern. Originally published in 1986 (Columbia University Press), the book examines the poetic self of German intellectual tradition in light of recent French and American critical theory. Focusing on seven major German writers--Holderlin, Dilthey, Nietzsche, Mann, Kafka, Freud, and Heidegger--Corngold shows that their work does not support the desire to discredit the self as an origin of meaning and value but reconstructs the allegedly fragmented poetic self through effects of position and style. Offering new and subtle models of selfhood, The Fate of the Self is a source of rich insight into the work of these authors, refracted through poststructuralist critical perspectives.