Empfehlungen basierend auf "Werner Herzog: A Guide for the Perplexed: Conversations with Paul Cronin"

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

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.

Chess Story, also known as The Royal Game, is the Austrian master Stefan Zweig's final achievement, completed in Brazilian exile and sent off to his American publisher only days before his suicide in 1942. It is the only story in which Zweig looks at Nazism, and he does so with characteristic emphasis on the psychological.Travelers by ship from New York to Buenos Aires find that on board with them is the world champion of chess, an arrogant and unfriendly man. They come together to try their skills against him and are soundly defeated. Then a mysterious passenger steps forward to advise them and their fortunes change. How he came to possess his extraordinary grasp of the game of chess and at what cost lie at the heart of Zweig's story.This new translation of Chess Story brings out the work's unusual mixture of high suspense and poignant reflection.

A son’s poignant letter to his father—from the author of The Metamorphosis and The Trial, and one of the most important writers of the twentieth century. • “One of the great confessions of literature.” —The New York Times Book ReviewFranz Kafka wrote this letter to his father, Hermann Kafka, in November 1919. Max Brod, Kafka’s literary executor, relates that Kafka actually gave the letter to his mother to hand to his father, hoping it might renew a relationship that had lost itself in tension and frustration on both sides. But Kafka’s probing of the deep flaw in their relationship spared neither his father nor himself. He could not help seeing the failure of communication between father and son as another moment in the larger existential predicament depicted in so much of his work. Probably realizing the futility of her son’s gesture, Julie Kafka did not deliver the letter but instead returned it to its author.

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.”

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

These diaries cover the years 1910 to 1923, the year before Kafka’s death at the age of forty. They provide a penetrating look into life in Prague and into Kafka’s accounts of his dreams, his feelings for the father he worshipped and the woman he could not bring himself to marry, his sense of guilt, and his feelings of being an outcast. They offer an account of a life of almost unbearable intensity.From the Trade Paperback edition.The Diaries of Franz Kafka 1910-13 translated from the German by Joseph KreshThe Diaries of Franz Kafka 1914-23 translated from the German by Martin Greenberg with the cooperation of Hannah Arendt