Empfehlungen basierend auf "Briefe und Tagebücher"

Explores Hesse's life to discover what led to his absorption in certain themes and traces the author's impassioned quest for meaning in a fragmented era filled with crises that posed philosophical contradictions for the artist

An invaluable set of career-length interviews with the German genius hailed by François Truffaut as "the most important film director alive"Most of what we've heard about Werner Herzog is untrue. The sheer number of false rumors and downright lies disseminated about the man and his films is truly astonishing. Yet Herzog's body of work is one of the most important in postwar European cinema.His international breakthrough came in 1973 with Aguirre, the Wrath of God, in which Klaus Kinski played a crazed Conquistador. For The Enigma of Kaspar Hauser, Herzog cast in the lead a man who had spent most of his life institutionalized, and two years later he hypnotized his entire cast to make Heart of Glass. He rushed to an explosive volcanic Caribbean island to film La Soufrière, paid homage to F. W. Murnau in a terrifying remake of Nosferatu, and in 1982 dragged a boat over a mountain in the Amazon jungle for Fitzcarraldo. More recently, Herzog has made extraordinary "documentary" films, such as Little Dieter Needs to Fly. His place in cinema history is assured, and Paul Cronin's volume of dialogues provides a forum for Herzog's fascinating views on the things, ideas, and people that have preoccupied him for so many years.This revised edition features new interviews discussing Herzog's films up to From One Second to the Next (2013), as well as additional text from Herzog, his collaborator Herbert Golder, the physicist Lawrence Krauss, and the filmmaker Harmony Korine.

Stefan Zweig (1881–1942) was a poet, novelist, and dramatist, but it was his biographies that expressed his full genius, recreating for his international audience the Elizabethan age, the French Revolution, the great days of voyages and discoveries. In this autobiography he holds the mirror up to his own age, telling the story of a generation that "was loaded down with a burden of fate as was hardly any other in the course of history." Zweig attracted to himself the best minds and loftiest souls of his era: Freud, Yeats, Borgese, Pirandello, Gorky, Ravel, Joyce, Toscanini, Jane Addams, Anatole France, and Romain Rolland are but a few of the friends he writes about.

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, promo

More than two decades of letters from one of the greatest writers of the twentieth century—the author of The Metamorphosis and The Trial—to the people in his life, from his years as a student in Prague in the early 1900s to his final months in the sanatorium near Vienna where he died in 1924.  Sometimes surprisingly humorous, sometimes wrenchingly sad, these letters, collected after Kafka's death by his friend and literary executor Max Brod, include charming notes to school friends; fascinating accounts to Brod about his work in its various stages of publication; correspondence with his publisher, Kurt Wolff, about manuscripts in progress, suggested book titles, type design, and late royalty statements; revealing exchanges with other young writers of the day, including Martin Buber and Felix Weltsch, on life, literature, and girls; and heartbreaking reports to his parents, sisters, and friends on the declining state of his health in the last months of his life.

One of the great American iconoclasts holds forth on politics, war, books and writers, and his personal life in a series of conversations, including his last published interview.During his long career Kurt Vonnegut won international praise for his novels, plays, and essays. In this new anthology of conversations with Vonnegut—which collects interviews from throughout his career—we learn much about what drove Vonnegut to write and how he viewed his work at the end.From Kurt Vonnegut's last interviewIs there another book in you, by chance?No. Look, I’m 84 years old. Writers of fiction have usually done their best work by the time they’re 45. Chess masters are through when they’re 35, and so are baseball players. There are plenty of other people writing. Let them do it.So what’s the old man’s game, then?My country is in ruins. So I’m a fish in a poisoned fishbowl. I’m mostly just heartsick about this. There should have been hope. This should have been a great country. But we are despised all over the world now. I was hoping to build a country and add to its literature. That’s why I served in World War II, and that’s why I wrote books.When someone reads one of your books, what would you like them to take from the experience?Well, I’d like the guy—or the girl, of course—to put the book down and think, “This is the greatest man who ever lived.”

A chess game on a translatlantic liner is the starting point for this heartstoppingly intense study of obsession On a Cruise ship bound for Buenos Aires, a tantalising encounter takes place between the reigning world chess champion and an unknown passenger. The stranger's diffident manner masks his extraordinary ability to challenge the Grand Master in a game of chess; it also conceals his dark and damaged past, the horror of which emerges as the game unfolds. 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.

There has never been a filmmaker like Paul Naschy. Naschy’s involvement in cinema spans 40 years and counting, with work as an actor, screenwriter, director and producer. He has molded his own vision under these assignments and provided an unheard of spectrum of clues to his personality, passions and ethos. If we just speak of the horror genre, Paul Naschy is a distinctive talent. Perhaps one shouldn’t step on the carefully protected toes of the familiar horror "kings" of the past and present, but Naschy is their equal, and in terms of involvement in the genre—as a screenwriter, director and producer—he outdistances every one of them. This is not a man who simply sits by the phone waiting for an agent to call. This autobiography is Naschy’s manifesto of will and dedication. It is also a great read, filled with engaging anecdotes, earthy asides, written with ease and intelligence, brimming with soul and a heart sometimes suffering, all the time passionate.

Marcel Reich-Ranicki is remarkable for both his unlikely life story and his brilliant career as the "pope of German letters." His sublimely written autobiography is at once a fascinating adventure tale, an unusual account of German-Jewish relations, a personal rumination on who's who in German culture, and a love letter to literature.Reich-Ranicki's life took him from middle-class childhood to wartime misery to the heights of intellectual celebrity. Born into a Jewish family in Poland in 1920, he moved to Berlin as a boy. There he discovered his passion for literature and began a complex affair with German culture. In 1938, his family was deported back to Poland, where German occupation forced him into the Warsaw Ghetto. As a member of the Jewish resistance, a translator for the Jewish Council, and a man who personally experienced the ghetto's inhumane conditions, Reich-Ranicki gained both a bird's-eye and ground-level view of Nazi barbarism. Written with subtlety and intelligence, his account of this episode is among the most compelling and dramatic ever recorded.He escaped with his wife and spent two years hiding in the cellar of Polish peasants—an incident later immortalized by Günter Grass. After liberation, he joined and then fell out with the Communist Party and was temporarily imprisoned. He began writing and soon became Poland's foremost critical commentator on German literature.When Reich-Ranicki returned to Germany in 1958, his rise was meteoric. In short order, he claimed national celebrity and notoriety as the head of the literary section of the leading newspaper and host of his own television program. He frequently flabbergasted viewers with his bold pronouncements and flexed his power to make or break a writer's career. His list of friends and enemies rapidly expanded to include every influential player on the German literary scene, including Grass and Heinrich Böll. This, together with his keen critical instincts, makes his memoir an indispensable guide to contemporary German culture as well as an absorbing eyewitness history of some of the twentieth century's most important events.

It is 1967, in a Viennese hospital. In separate wards: the narrator named Thomas Bernhard, is stricken with a lung ailment; his friend Paul, nephew of Ludwig Wittgenstein, is suffering fom one of his periodic bouts of madness. Bernhard traces the growth of an intense friendship between two eccentric, obsessive men who share a passion for music, a strange sense of humor, brutal honesty, and a disgust for bourgeois Vienna."[Wittgenstein's Nephew is] a meditative fugue for mad, brilliant voices on the themes of death, death-in-life and the artist's and thinker's role in society . . . oddly moving and funny at the same time."—Joseph Coates, Chicago Tribune"Mr. Bernhard's memoir about Paul Wittgenstein is a 'confession and a guilty homage to their friendship; it takes the place of the graveside speech he never delivered. In its obsessive, elegant rhythms and narrative eloquence, it resembles a tragic aria by Richard Strauss. . . . This is a memento mori that approaches genius.'"—Richard Locke, Wall Street Journal