"Measured, solemn, sardonic . . . hypnotic . . . W. G. Sebald's] books, which he made out of classics, remain classics for now."--Joshua Cohen, The New York Times Book Review "In Sebald's writing, everything is connected, everything webbed together by the unseen threads of history, or chance, or fate, or death. The scholarly craft of gathering scattered sources and weaving them into a coherent whole is transformed here into something beautiful and unsettling, elevated into an art of the uncanny--an art that was, in the end, Sebald's strange and inscrutable gift."--Slate "Magnificent . . . The multiple layers surrounding each essay are seamless to the point of imperceptibility."--New York Daily News "Sebald's most tender and jovial book."--The Nation "Reading A Place in the Country is] like going for a walk with a beautifully talented, deeply passionate novelist from Mars."--New York
Bringing together the best critical essays on one of the most fascinating literary figures of our time, this book immediately takes its place as a major source for Benjamin scholarship. Hannah Arendt called Walter Benjamin "the outstanding literary critic of the twentieth century" when she introduced him to English-language readers in 1968 with the selection of essays entitled Illuminations. Since then, his life and work have entered the domain of literary legend. The seventeen essays collected here cover the full range of Benjamin's interests, from hashish to Goethe to the modern city. They include important critical essays by Gershom Scholem and J rgen Habermas as well as several moving and evocative recollections of Benjamin by friends and colleagues such as Theodor Adorno and Ernst Bloch. Gary Smith served as coeditor of the seventh volume of Benjamin's Gesammelte Schriften and prepared both the German and English editions of Benjamin's Moscow Diary.
This is the only English-language book to deal in depth with Austrian women writers of the postwar and contemporary period. It is a comparative study of the works of Marlen Haushofer, Ingeborg Bachmann, Barbara Frischmuth, Elfriede Jelinek, and Brigitte Schwaiger. Their works are examined in light of their criticism of women's position in Austrian society, the writers' relationship to feminism, and the influence of the change in women's status on their literature. Vansant's introduction provides a broad historical overview and discusses some of the factors influencing the development of women's literature in Austria from 1918 to the present.
The aphorism eludes definition: it can appear to be a random jotting or a more polished observation. Whether arbitrary fragment or crystalline shard, an aphorism captures the inception of a thought. Franz Kafka composed aphorisms during two periods in his life. A series of 109 was written between September 1917 and April 1918, in Z rau, West Bohemia, while Kafka was on a visit to his sister Ottla, hoping for a brief respite following the diagnosis of the tuberculosis virus that would eventually claim his life. They were originally published in 1931, seven years after his death by his friend and literary executor Max Brod, under the title Betrachtungen ber S nde, Hoffnung, Leid, und den wahren Wag (Reflections on Sin, Hope, Suffering, and the True Way). The second sequence of aphorisms, numbering 41, originally appeared as entries in Kafka's diary from January 6 to February 29, 1920. They, too, were published posthumously, under the title "Er" Aufzeichnungen aus dem Jahr 1920 ("He" Reflections from the Year 1920).Kafka's aphorisms are fascinating glimpses into the lure and the enigma of the form itself.