Empfehlungen basierend auf "The Glass Bead Game"

“Vonnegut is George Orwell, Dr. Caligari and Flash Gordon compounded into one writer . . . a zany but moral mad scientist.”—Time Mother Night is a daring challenge to our moral sense. American Howard W. Campbell, Jr., a spy during World War II, is now on trial in Israel as a Nazi war criminal. But is he really guilty? In this brilliant book rife with true gallows humor, Vonnegut turns black and white into a chilling shade of gray with a verdict that will haunt us all. “A great artist.”—Cincinnati Enquirer “A shaking up in the kaleidoscope of laughter . . . Reading Vonnegut is addictive!”—Commonweal

“A free-wheeling vehicle . . . an unforgettable ride!”—The New York TimesCat’s Cradle is Kurt Vonnegut’s satirical commentary on modern man and his madness. An apocalyptic tale of this planet’s ultimate fate, it features a midget as the protagonist, a complete, original theology created by a calypso singer, and a vision of the future that is at once blackly fatalistic and hilariously funny. A book that left an indelible mark on an entire generation of readers, Cat’s Cradle is one of the twentieth century’s most important works—and Vonnegut at his very best.“[Vonnegut is] an unimitative and inimitable social satirist.”—Harper’s Magazine“Our finest black-humorist . . . We laugh in self-defense.”—Atlantic Monthly

Auto-da-Fé, Elias Canetti's only work of fiction, is a staggering achievement that puts him squarely in the ranks of major European writers such as Robert Musil and Hermann Broch.It is the story of Peter Kien, a scholarly recluse who lives among and for his great library. The destruction of Kien through the instrument of the illiterate, brutish housekeeper he marries constitutes the plot of the book. The best writers of our time have been concerned with the horror of the modern world--one thinks of Kafka, to whom Canetti has often been compared. But Auto-da-Fé stands as a completely original, unforgettable treatment of the modern predicament.

All too often, this brilliant novel of thwarted love and revenge miscarried has been read for its political implications. Now, a quarter century after The Joke was first published and several years after the collapse of the Soviet-imposed Czechoslovak regime, it becomes easier to put such implications into perspective in favor of valuing the book (and all Kundera 's work) as what it truly is: great, stirring literature that sheds new light on the eternal themes of human existence. The present edition provides English-language readers an important further means toward revaluation of The Joke. For reasons he describes in his Author's Note, Milan Kundera devoted much time to creating (with the assistance of his American publisher-editor) a completely revised translation that reflects his original as closely as any translation possibly can: reflects it in its fidelity not only to the words and syntax but also to the characteristic dictions and tonalities of the novel's narrators. The result is nothing less than the restoration of a classic.

From the internationally acclaimed author of The Marriage of Cadmus and Harmony comes one of the most significant books in recent years on a writer of perennial interest–a virtuoso interpretation of the work of Franz Kafka. What are Kafka’s fictions about? Are they dreams? Allegories? Symbols? Countless answers have been offered, but the essential mystery remains intact. Setting out on his own exploration, Roberto Calasso enters the flow, the tortuous movement, the physiology of Kafka’s work to discover why K. and Josef K.–the protagonists of The Castle and The Trial–are so radically different from any other character in the history of the novel, and to determine who, in the end, is K. The culmination of Calasso’s lifelong fascination with Kafka’s work, K. is also an unprecedented consideration of the mystery of Kafka himself.

Self-destruction and human suffering are the central themes in this novel about man and war

A collection of twenty-one of the author's finest stories representing more than forty years of writing features some of his classic themes, including the future of technology and the transformation of humankind, in an anthology including the Hugo- and Nebula-nominated title story. Reprint.

The American publication of The Complete Stories of J. G. Ballard is a landmark event. Increasingly recognized as one of the greatest and most prophetic novelists, J. G. Ballard was a "writer of enormous inventive powers," who, in the words of Malcolm Bradbury, possessed, "like Calvino, a remarkable gift for filling the empty deprived spaces of modern life with the invisible cities and the wonder worlds of imagination." Best known for his novels, such as Empire of the Sun and Crash, Ballard rose to fame as the "ideal chronicler of disturbed modernity" (The Observer). Perhaps less known, though equally brilliant, were his devastatingly original short stories, which span nearly fifty years and reveal an unparalleled prescience so unique that a new word--Ballardian--had to be invented. Ballard, who wrote that "short stories are the loose change in the treasury of fiction, easily ignored beside the wealth of novels available," regretted the fact that the public had increasingly lost its ability to appreciate them. With 98 pulse-quickening stories, this volume helps restore the very art form that Ballard feared was comatose. Ballard's inimitable style was already present in his early stories, most of them published in science fiction magazines. These stories are surreal, richly atmospheric and splendidly elliptical, featuring an assortment of psychotropic houses, time-traveling assassins, and cities without clocks. Over the next fifty years, his fierce imaginative energy propelled him to explore new topics, including the dehumanization of technology, the brutality of the corporation, and nuclear Armageddon. Depicting the human soul as "being enervated and corrupted by the modern world" (New York Times), Ballard began to examine themes like overpopulation, as in "Billenium," a claustrophobic imagining of a world of 20 billion people crammed into four-square-meter rooms, or the false realities of modern media, as in the classic "Why I Want to Fuck Ronald Reagan," a faux-psychological study of the sexual and violent reactions elicited by viewing Reagan's face on television, in which Ballard predicted the unholy fusion of pop culture and sound-bite politics thirteen years before Reagan became president. Given Ballard's heightened powers of perception, it is astonishing that the dehumanized world that he apprehended so acutely neither diminished his own febrile imagination nor his engagement with mankind, evident in every story, including two new ones for this American edition. So eerily prophetic is his vision, so commanding are his literary gifts, the import and insight of J. G. Ballard's deeply humanistic and transcendent works can only grow in years to come.

"It is not a work of nonfiction but a work of fantasy, and not the story of the making of the skyscraper but the story of the unmaking of a very particular one, the Empire State Building . . . The exquisite drawing style that marked Mr. Macaulay's earlier works on architecture remains as whimsical as ever." -- New York Times Book Review

In sheer daemonic strangeness and fertility of conception, Clark Ashton Smith is perhaps unexcelled by any other writer dead or living. - H.P. LovecraftTable of Contents:"The Magic of Atlantis: An Introduction" (Editor)Poseidonis* Editor's Note* "The Muse of Atlantis" (prose poem)* "The Last Incantation"* "The Death of Malygris"* "Tolometh" (poem)* "The Double Shadow"* "A Voyage to Sfanomoë"* "A Vintage from Atlantis"* "Atlantis: a poem" (poem)Lemuria* Editor's Note* In Lemuria (poem)* An Offering to the Moon* The Uncharted Isle* Lemurienne (poem)Ptolemides* Editor's Note* The Epiphany of DeathOther Realms* Editor's Note* In Cocaigne (prose poem)* Symposium of the Gorgon* The Venus of Azombeii* The Isle of Saturn (poem)* The Root of Ampoi* The Invisible City* Amithaine (poem)* The Willow Landscape* The Shadows (prose poem)Cover art by Gervasio Gallardo