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In this companion to Urs Widmer's novel My Mother's Lover, the narrator is again the son who pieces together the fragments of his parents' stories. Since the age of twelve, Karl, the father, has observed the family tradition of recording his life in a single notebook, but when his book is lost soon after his death, his son resolves to rewrite it. Here, we get to know Karl's friends--a collection of anti-fascist painters and architects known as Group 33. We learn of the early years of Karl's marriage and follow his military service as the Swiss fear a German invasion during World War II, his political activity for the Communist Party, and his brief career as a teacher. Widmer brilliantly combines family history and historical events to tell the story of a man more at home in the world of the imagination than in the real world, a father who grows on the reader, just as he grows on his son.
At the end of the Second World War in 1945, the countries of Western Europe found themselves at crossroads. How should they react to the challenges posed by the peace, Germany's defeat and the newly won freedom? This book presents accounts and interpretations of the immediate postwar situation in leading Western European countries and regions.
"First published in 2009 as Herr Adamson by Urs Widmer A Diogenes Verlag AG Zeurich, 2009"--Title page verso.
Africa: a forgotten continent that evades all attempts at control and transcends reason. Or does it? This book describes Europe's image of Africa and relates how the conception of the Dark Continent has been fabricated in European culture--with the Congo as an analytical focal point. It also demonstrates that the myth was more than a creation of colonial propaganda; the Congo reform movement--the first international human rights movement--spread horror stories that still have repercussions today. The book cross-examines a number of witness testimonies, reports and novels, from Stanley's travelogues and Conrad's Heart of Darkness to Herge's Tintin and Burroughs' Tarzan, as well as recent Danish and international Congo literature. The Dark Continent? proposes that the West's attitudes to Africa regarding free trade, emergency aid and intervention are founded on the literary historical assumptions of stories and narrative forms that have evolved since 1870.
This study of Joseph Conrad's influential work "Heart of Darkness" presents for the first time the German-language reception of this reference text in the debate on postcolonialism. The spectrum ranges from Conrad's contemporaries (like Kafka) to many canonical authors of the 20th century (including Thomas Mann, Ernst Jünger, Christa Wolf) to the most recent names in literature (i.e. Christian Kracht und Lukas Bärfuss). Beyond the readings of their works, the study contributes to the study of cultural transfers as well as to Conrad philology, and it expands the theory of intertextuality with parameters that capture the complex factor of power in postcolonial relations.
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The collected essays in Migration and Cultural Contact: Germany and Australia investigate historical documents, letters, film, literature and other cultural sources to reveal how each country influenced the culture, intellectual thought and aesthetics of the other from earliest colonial times through to today.
Known only as 'the goalie', the novel's narrator is always taking the blame. He's just been released from jail, having kept schtum during a drugs bust at his local pub. The goalie is a sucker for a good story, he lives and breathes them, is forever telling stories to himself and anyone who'll listen. He returns to his hometown broke, falling in love with Regi, a barmaid. On a trip together to Spain, to hook up with his shady mates, Regi realises that this obsession with storytelling has its downsides, the goalie all too ready to believe the yarns his so-called friends spin. Naw Much of a Talker is a charming, hilarious tour through the goalie's anecdotes. Storytelling is his way of avoiding problems and conflict, his crowning achievement and tragic flaw. Regi concludes that it isn't a woman the goalie needs, but an audience. Inspired by a six month residency in Glasgow, Pedro Lenz harnesses his considerable powers as a performer and oral storyteller in this powerful and unforgettable celebration of the rhythms and musicality of the spoken word.