In no other work does Franz Kafka reveal himself as in Letters to Milena, which begins as a business correspondence but soon develops into a passionate but doomed epistolary love affair. Kafka's Czech translator, Milena Jesenska, was a gifted and charismatic twenty-three-year-old who was uniquely able to recognize Kafka's complex genius and his even more complex character. For the thirty-six-year-old Kafka, she was "a living fire, such as I have never seen." It was to Milena that he revealed his most intimate self and, eventually, entrusted his diaries for safekeeping. "The voice of Kafka in Letters to Milena is more personal, more pure, and more painful than in his fiction: a testimony to human existence and to our eternal wait for the impossible. A marvelous new edition of a classic text." —Jan Kott
Other Letters to Milena/Otras cartas a Milena offers a parallel translation of a mixed-genre work by acclaimed Cuban writer Reina María Rodríguez in which poetry merges into creative nonfiction, culminating in a series of essays.
'One of the most explicit books about sex ever written by a woman' Edmund White A window into a life of insatiable desire and uninhibited sex – this is Parisian art critic Catherine M.’s unabashed autobiography, the story of her sexual awakening and unrestrained pursuit of pleasure. From the glamorous singles clubs of Paris to the Bois de Boulogne, she describes her erotic experiences in precise and beautiful detail. A phenomenal bestseller throughout Europe, The Sexual Life of Catherine M., like the recent Fifty Shades of Grey, breaks with accepted ideas of sex and examines the alternative manifestations of desire. Told in spare, elegant prose, her story will shock, enlighten and liberate you.
Widely known for her (largely epistolary) romance with Franz Kafka and as the addressee of his Letters to Milena, Milena Jesenska was a prominent journalist and translator, one of the most famous women in 1930s Prague. This intimate biography by her daughter charts her stormy and colorful life from her rebellious childhood through her literary and political activities to her concentration camp imprisonment by the Nazis. Kafka's Milena was rushed into publication in Prague in 1969, just after the Soviet invasion of Czechoslovakia. This edition includes translations of several new letters and articles by Jesenska, including her obituary of Kafka and a wrenching letter from prison to her daughter.
Franz Kafka wrote this letter to Hermann Kafka in November 1919; he was then thirty-six years old. Max Brod relates that Kafka actually gave it to his mother to hand to his father, hoping that it might renew a relationship that had disintegrated into tension and frustration on both sides. Kafka's probing of the abyss between them spared neither his father nor himself, and his cry for acceptance has an undertone of despair. He could not help seeing the lack of understanding between father and son as another moment in the universal predicament depicited in so much of his work. Probably realizing the futility of her son's gesture, his mother did not deliver the letter, but returned it to Kafka instead. Kafka died five years later, in 1924, of tuberculosis.
Early associates such as Rudolf Hess, Ernst Hanfstaengl, and Hermann Esser all claimed that Hitler revered alcoholic playwright Dietrich Eckart more than any other colleague. Eminent German historians Karl Dietrich Bracher, Werner Maser, Georg Franz-Willig, and Ernst Nolte have confirmed this assessment. Hitler not only dedicated Mein Kampf to Eckart, he hung his portrait in Munich's Brown House, placed a bust of him in the Reich Chancellery next to one of Bismarck, and named Berlin's 1936 Olympic stadium the Dietrich Ekcart Outdoor Theater. Yet British-American scholarship has virtually ignored "Nazism's Spiritual Father." J. H. Tyson weaves Eckart's biography into a colorful account of modern German history.
"Women in the Shadows" discusses the biographies of five brilliant and talented women born in the Austro-Hungarian Empire: Mileva Einstein-Marić, Margarete Jeanne Trakl, Lise Meitner, Milena Jesenska, and Margarete Schutte-Lihotzky. Charles S. Chiu creates -a narrative against forgetting, as a small step out of darkness- by writing about these women's accomplishments, which were overshadowed by those of the famous men in their lives. Edith Borchardt's translation brings this narrative to a wider audience. "Women in the Shadows" will interest scientists and scholars in the humanities as well as the general reader. The women portrayed represent various fields - mathematics, physics, music and literature, journalism, and architecture - making "Women in the Shadows" suitable for courses on the history of science, German and Austrian studies, as well as women's studies."
Kafka Translated is the first book to look at the issue of translation and Kafka's work. What effect do the translations have on how we read Kafka? Are our interpretations of Kafka influenced by the translators' interpretations? In what ways has Kafka been 'translated' into Anglo-American culture by popular culture and by academics? Michelle Woods investigates issues central to the burgeoning field of translation studies: the notion of cultural untranslatability; the centrality of female translators in literary history; and the under-representation of the influence of the translator as interpreter of literary texts. She specifically focuses on the role of two of Kafka's first translators, Milena Jesenská and Willa Muir, as well as two contemporary translators, Mark Harman and Michael Hofmann, and how their work might allow us to reassess reading Kafka. From here Woods opens up the whole process of translation and re-examines accepted and prevailing interpretations of Kafka's work.
Franz Kafka first met Felice Bauer in August 1912, at the home of his friend Max Brod. The twenty-five-year-old career woman from Berlin—energetic, down-to-earth, life-affirming—awakened in him a desire to marry. Kafka wrote to Felice almost daily, sometimes even twice a day. Because he was living in Prague and she in Berlin, their letters became their sole source of knowledge of each other. But soon after their engagement in 1914, Kafka began having doubts about the relationship, fearing that marriage would imperil his dedication to writing and interfere with his need for solitude. Through their break-up, a second engagement in 1917, and their final parting later that year, when Kafka began falling ill with the tuberculosis that would eventually claim his life, their correspondence continued. The more than five hundred letters that Kafka wrote to Felice over the course of those five years were acquired by Schocken from her in 1955. They reveal the full measure of Kafka's inner turmoil as he tried, in vain, to balance his need for stability with the demands of his craft. "These letters are indispensable for anyone seeking a more intimate knowledge of Kafka and his fragmented world." —Library Journal
This collection of essays, newly available in paperback, seeks to explore Agamben's work from philosophical and literary perspectives, thereby underpinning its place within larger debates in continental philosophy.