Austrian writer Stefan Zweig's final work, posted to his publisher the day before his tragic death, brings the destruction of a war-torn Europe vividly to life. Written as both a recollection of the past and a warning for future generations, The World of Yesterday recalls the golden age of literary Vienna; its seeming permanence, its promise, and its devastating fall. A truthful and passionate account of the horror that tore apart European culture, The World of Yesterday gives us insight into the history of a world brutally destroyed, written by a master at the height of his literary talent.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

'Zweig's fictional masterpiece' GUARDIAN 'An intoxicating, morally shaking read... A real reminder of what fiction can do best' ALI SMITH 'It's just a masterpiece. When I read it I thought, how is it that I don't already know about this?' WES ANDERSON _______________ The only novel written by one of the most popular writers of the twentieth century In 1913, young second lieutenant Hofmiller discovers the terrible danger of pity. He had no idea the girl was lame when he asked her to dance-so begins a series of visits, motivated by pity, which relieve his guilt but give her a dangerous glimmer of hope. Stefan Zweig's unforgettable novel is a devastating depiction of the betrayal of both honour and love, amid the disintegration of the Austro-Hungarian Empire.

Introducing Little Clothbound Classics: irresistible, mini editions of short stories, novellas and essays from the world's greatest writers, designed by the award-winning Coralie Bickford-Smith Celebrating the range and diversity of Penguin Classics, they take us from snowy Japan to springtime Vienna, from haunted New England to a sun-drenched Mediterranean island, and from a game of chess on the ocean to a love story on the moon. Beautifully designed and printed, these collectible editions are bound in colourful, tactile cloth and stamped with foil. A group of passengers on a cruise ship challenge the world chess champion to a match. At first, they crumble, until they are helped by whispered advice from a stranger in the crowd - a man who will risk everything to win. Stefan Zweig's acclaimed novella Chess is a disturbing, intensely dramatic depiction of obsession and the price of the past.

Chess world champion Mirko Czentovic is travelling on an ocean liner to Buenos Aires. Dull-witted in all but chess, he entertains himself on board by allowing others to challenge him in the game, before beating each of them and taking their money. But there is another passenger with a passion for chess: Dr B, previously driven to insanity during Nazi imprisonment by the chess games in his imagination. But in agreeing to take on Czentovic, what price will Dr B ultimately pay? A moving portrait of one man's madness, The Royal Game: a chess story is a searing examination of the power of the mind and the evil it can do.

'I had never heard of Zweig until six or seven years ago, as allthe books began to come back into print, and I more or less by chance bought a copy of Beware of Pity. I immediately lovedthis book, his one, big, great novel-and suddenly there weredozens more in front of me waiting to read.' Wes Anderson The Society of the Crossed Keys contains Wes Anderson's selections from the writings of the great Austrian author Stefan Zweig, whose life and work inspired The Grand Budapest Hotel. A CONVERSATION WITH WES ANDERSON Wes Anderson discusses Zweig's life and work with Zweig biographer George Prochnik. THE WORLD OF YESTERDAY Selected extracts from Zweig's memoir, The World of Yesterday, an unrivalled evocation of bygone Europe. BEWARE OF PITY An extract from Zweig's only novel, a devastating depictionof the torment of the betrayal of both honour and love. TWENTY-FOUR HOURS IN THE LIFE OF A WOMAN One of Stefan Zweig's best-loved stories in full-a passionate tale of gambling, love and death, played out against the stylish backdrop of the French Riviera in the 1920s. "I defy anyone to read these tasters of Zweig's work without being compelled to read on. Pushkin might as well do their readers all a favour and sell The Society of the Crossed Keys with a complete Zweig back catalogue." Independent 'The World of Yesterday is one of the greatest memoirs of the twentieth century, as perfect in its evocation of the world Zweig loved, as it is in its portrayal of how that world was destroyed.' -- David Hare 'Beware of Pity is the most exciting book I have ever read...a feverish, fascinating novel' -- Antony Beevor 'One of the joys of recent years is the translation into English of Stefan Zweig's stories.'--Edmund de Waal, author of The Hare with the Amber Eyes Stefan Zweig was born in 1881 in Vienna. He studied in Berlin and Vienna and, between the wars was an international bestselling author. With the rise of Nazism, he left Austria, and lived in London, Bath, New York and Brazil, where in 1942 he and his wife were found dead in an apparent double suicide. Wes Anderson's films include Bottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic, The Darjeeling Limited, Fantastic Mr Fox, and Moonrise Kingdom. He directed and wrote the screenplay for The Grand Budapest Hotel.

'The most exciting book I have ever read ... a feverish, fascinating novel' Antony Beevor, Sunday Telegraph 'I can't take any more of your revolting merciful kindness!' Who would have thought that the great military hero Captain Hofmiller - that living monument to his own courage - would have anything burdening his soul? But when he reveals his story, it is not one of bravery but tragedy: a simple blunder at a dance from which disaster grows, ruining lives with his weak, foolish pity... Beware of Pity is Stefan Zweig's greatest novel, fiercely capturing human emotions in all their subtleties and extremes - while Hofmiller, his unforgettable, naïve creation, misunderstands everything, resulting in his downfall. Translated by Jonathan Katz. Previously published as Impatience of the Heart.

Stefan's Zweig's Letter from an Unknown Woman and other stories contains a new translation by the award-winning Anthea Bell of one of his most celebrated novellas, Letter from an Unknown Woman , the inspiration for a classic 1948 Hollywood film by Max Ophuls, as well as three new stories, appearing in English for the first time. A famous author receives a letter on his forty-first birthday. He doesn't know the sender, but still the letter concerns him intimately. Its story is earnest, even piteous: the story of a life lived in service to an unannounced, unnoticed love. In the other stories in this collection, a young man mistakes the girl he loves for her sister; two erstwhile lovers meet after an age spent apart; and a married woman repays a debt of gratitude. All four tales, newly translated by the award-winning Anthea Bell, are among Zweig's most celebrated and compelling work-expertly paced, laced with empathy and an unwaveringly acute sense of psychological detail. Contents Letter from an Unknown Woman (Brief einer Unbekannten) A Story Told in Twilight (Geschichte in der Dammerung) The Debt Paid Late (Die spat bezahlte Schuld) Forgotten Dreams (Vergessene Traume) 'Stefan Zweig's time of oblivion is over for good... it's good to have him back ' - Salman Rushdie, The New York Times 'One hardly knows where to begin in praising Zweig's work.' - Ali Smith, TLS Book of the Year 2008 Stefan Zweig (1881-1942) was born in Vienna, into a wealthy Austrian-Jewish family. He studied in Berlin and Vienna and was first known as a poet and translator, then as a biographer. Zweig travelled widely, living in Salzburg between the wars, and was an international bestseller with a string of hugely popular novellas including Letter from an Unknown Woman, Amok and Fear. In 1934, with the rise of Nazism, he moved to London, where he wrote his only novel Beware of Pity. He later moved on to Bath, taking British citizenship after the outbreak of the Second World War. With the fall of France in 1940 Zweig left Britain for New York, before settling in Brazil, where in 1942 he and his wife were found dead in an apparent double suicide. Much of his work is available from Pushkin Press.

The post-office girl is Christine, who looks after her ailing mother and toils in a provincial Austrian post office in the years just after the Great War. One afternoon, as she is dozing among the official forms and stamps, a telegraph arrives addressed to her. It is from her rich aunt, who lives in America and writes requesting that Christine join her and her husband in a Swiss Alpine resort. After a dizzying train ride, Christine finds herself at the top of the world, enjoying a life of privilege that she had never imagined.
But Christine's aunt drops her as abruptly as she picked her up, and soon the young woman is back at the provincial post office, consumed with disappointment and bitterness. Then she meets Ferdinand, a wounded but eloquent war veteran who is able to give voice to the disaffection of his generation. Christine's and Ferdinand's lives spiral downward, before Ferdinand comes up with a plan which will be either their salvation or their doom.
Never before published in English, this extraordinary book is an unexpected and haunting foray into noir fiction by one of the masters of the psychological novel.

Written over a period of twenty-five years, this first volume in a trilogy is intended to depict in the life and work of writers of different nationalities--Balzac, Dickens, and Dostoevsky--the world-portraying novelist. Though these essays were composed at fairly long intervals, their essential uniformity has prompted Zweig to bring these three great novelists of the nineteenth century together; to show them as writers who, for the very reason that they contrast with each other, also complete one another in ways which makes them round our concept of the epic portrayers of the world. Zweig considers Balzac, Dickens, and Dostoevsky the supremely great novelists of the nineteenth century. He draws between the writer of one outstanding novel, and what he terms a true novelist--an epic master, the creator of an almost unending series of pre-eminent romances. The novelist in this higher sense is endowed with encyclopedic genius, is a universal artist, who constructs a cosmos, peopling it with types of his own making, giving it laws of gravity that are unique to these fi gures. Each of the novelists featured in Zweig's book has created his own sphere: Balzac, the world of society; Dickens, the world of the family; Dostoevsky, the world of the One and of the All. A comparison of these spheres serves to prove their diff erences. Zweig does not put a valuation on the differences, or emphasize the national element in the artist, whether in a spirit of sympathy or antipathy. Every great creator is a unity in himself, with its own boundaries and specifi c gravity. There is only one specifi c gravity possible within a single work, and no absolute criterion in the sales of justice. This is the measure of Zweig, and the message of this book.

Roland, a young student at a new university, meets an inspirational teacher who sweeps him into his world of literature and learning. When the boy moves into the same building as the teacher and his wife, he becomes ever closer to this remarkable man, though he also senses his mentor pulling away from him - sometimes even seeming to hate him. But the truth about these feelings is something that will shape both men for the rest of their lives.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This is the second volume in a trilogy in which Stefan Zweig builds a composite picture of the European mind through intellectual portraits selected from among its most representative and influential figures. In "Holderlin, Kleist, and Nietzsche, " Zweig concentrates on three giants of German literature to portray the artist and thinker as a figure possessed by a powerful inner vision at odds with the materialism and scientific positivism of his time, in this case, the nineteenth century. Zweig's subjects here are respectively a lyric poet, a dramatist and writer of novellas, and a philosopher. Each led an unstable life ending in madness and/or suicide and not until the twentieth century did each make their full impact. Whereas the nineteenth-century novel is socially capacious in terms of subject and audience, the three figures treated here are prophets or forerunners of modernist ideas of alienation and exile. Holderlin and Kleist consciously opposed the worldly harmoniousness of Goethe's classicism in favor of a visionary inwardness and dramatization of the subjective psyche. Nietzsche set himself as a destroyer and rebuilder of philosophy and critic of the degradation of the German spirit through nationalism and militarism. Zweig's choice of subjects reflects a division in his own soul. The image of Goethe recurs here as the ultimate upholder of Zweig's own ideals: scientist and artist, receptive to world culture, supremely rational and prudent. Yet Zweig was aware that Holderlin, Kleist, and Nietzsche were more daring explorers of the dangerous and destructive aspects of man that needed to be seen and comprehended in the clarifying light of poetry and philosophy.

Written over a period of twenty-five years, this first volume in a trilogy is intended to depict in the life and work of writers of different nationalities--Balzac, Dickens, and Dostoevsky--the world-portraying novelist. Though these essays were composed at fairly long intervals, their essential uniformity has prompted Zweig to bring these three great novelists of the nineteenth century together; to show them as writers who, for the very reason that they contrast with each other, also complete one another in ways which makes them round our concept of the epic portrayers of the world.

Zweig considers Balzac, Dickens, and Dostoevsky the supremely great novelists of the nineteenth century. He draws between the writer of one outstanding novel, and what he terms a true novelist--an epic master, the creator of an almost unending series of pre-eminent romances. The novelist in this higher sense is endowed with encyclopedic genius, is a universal artist, who constructs a cosmos, peopling it with types of his own making, giving it laws of gravity that are unique to these fi gures.

Each of the novelists featured in Zweig's book has created his own sphere: Balzac, the world of society; Dickens, the world of the family; Dostoevsky, the world of the One and of the All. A comparison of these spheres serves to prove their diff erences. Zweig does not put a valuation on the differences, or emphasize the national element in the artist, whether in a spirit of sympathy or antipathy. Every great creator is a unity in himself, with its own boundaries and specifi c gravity. There is only one specifi c gravity possible within a single work, and no absolute criterion in the sales of justice. This is the measure of Zweig, and the message of this book.

'He who thinks freely for himself, honours all freedom on earth.' Stefan Zweig was already an emigre-driven from a Europe torn apart by brutality and totalitarianism-when he found, in a damp cellar, a copy of Michel de Montaigne's Essais. Montaigne would become Zweig's last great occupation, helping him make sense of his own life and his obsessions-with personal freedom, with the sanctity of the individual. Through his writings on suicide, he would also, finally, lead Zweig to his death. With the intense psychological acuity and elegant prose so characteristic of Zweig's fiction, this account of Montaigne's life asks how we ought to think, and how to live. It is an intense and wonderful insight into both subject and biographer.

This is the second volume in a trilogy in which Stefan Zweig builds a composite picture of the European mind through intellectual portraits selected from among its most representative and influential figures. In Hoelderlin, Kleist, and Nietzsche, Zweig concentrates on three giants of German literature to portray the artist and thinker as a figure possessed by a powerful inner vision at odds with the materialism and scientific positivism of his time, in this case, the nineteenth century.Zweig's subjects here are respectively a lyric poet, a dramatist and writer of novellas, and a philosopher. Each led an unstable life ending in madness and/or suicide and not until the twentieth century did each make their full impact. Whereas the nineteenth-century novel is socially capacious in terms of subject and audience, the three figures treated here are prophets or forerunners of modernist ideas of alienation and exile. Hoelderlin and Kleist consciously opposed the worldly harmoniousness of Goethe's classicism in favor of a visionary inwardness and dramatization of the subjective psyche. Nietzsche set himself as a destroyer and rebuilder of philosophy and critic of the degradation of the German spirit through nationalism and militarism.Zweig's choice of subjects reflects a division in his own soul. The image of Goethe recurs here as the ultimate upholder of Zweig's own ideals: scientist and artist, receptive to world culture, supremely rational and prudent. Yet Zweig was aware that Hoelderlin, Kleist, and Nietzsche were more daring explorers of the dangerous and destructive aspects of man that needed to be seen and comprehended in the clarifying light of poetry and philosophy.

From the moment of her birth to her death on the scaffold, Mary Stuart spent her life embroiled in power struggles that shook the foundations of Renaissance Europe. Revered by some as the rightful Queen of England, reviled by others as a murderous adultress, her long and fascinating rivalry with her cousin Elizabeth I led ultimately to her downfall. This classic biography, by one of the most popular writers of the twentieth century, breathes life into the character of one of history's most remarkable women, and turns her tale into a story of passion and plotting as gripping as any novel.

In this magnificent collection of Stefan Zweig's short stories the very best and worst of human nature are captured with sharp observation, understanding and vivid empathy. A knock on a door that forces a whole community to take flight, an aging womaniser who meets his match, a love soured into awful cruelty-these stories present a master at work, at the top of his form. Translated by the award-winning Anthea Bell

The post-office girl is Christine, who looks after her ailing mother and toils in a provincial Austrian post office in the years just after the Great War. One afternoon, as she is dozing among the official forms and stamps, a telegraph arrives addressed to her. It is from her rich aunt, who lives in America and writes requesting that Christine join her and her husband in a Swiss Alpine resort. After a dizzying train ride, Christine finds herself at the top of the world, enjoying a life of privilege that she had never imagined.
But Christine's aunt drops her as abruptly as she picked her up, and soon the young woman is back at the provincial post office, consumed with disappointment and bitterness. Then she meets Ferdinand, a wounded but eloquent war veteran who is able to give voice to the disaffection of his generation. Christine's and Ferdinand's lives spiral downward, before Ferdinand comes up with a plan which will be either their salvation or their doom.
Never before published in English, this extraordinary book is an unexpected and haunting foray into noir fiction by one of the masters of the psychological novel.