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The Eternal Philistine
“At the World’s Fair in Paris I once lost my late husband and, just then, an elegant gentleman accosted me. As I look at him, he opens up his overcoat and hasn’t got anything on underneath. I only mention this in passing.” This never-before translated work by a major yet overlooked mid-20th century writer is a brutally funny look at the human comedy on the eve of Europe’s descent into Fascism. It tells the tale of a failed used car salesman who wants to live the high life, and so decides to travel by train from Munich to Barcelona to attend the World’s Fair—in hopes of meeting a beautiful, rich woman who will provide for his every whim. It’s a highly stylized and, at times, r...
Faith, Hope and Charity
Set in the socially and economically oppressed Vienna of the early thirties, this play is the story of a young girl's struggle to survive in the city, a victim of forces she does not comprehend. As the play opens, she is trying to sell her body to an anatomical institute.
Youth Without God
Written in exile while in flight from the Nazis, this dark, bizarre evocation of everyday life under fascism is available for the first time in thirty years. This last book by Ödön von Horváth, one of the 20th-century’s great but forgotten writers, is a dark fable about guilt, fate, and the individual conscience. An unnamed narrator in an unnamed country is a schoolteacher with “a safe job with a pension at the end of it.” But, when he reprimands a student for a racist comment, he is accused of “sabotage of the Fatherland,” and his students revolt. A murder follows, and the teacher must face his role in it, even if it costs him everything. Horváth’s book both points to its im...
A Child of Our Time
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Tales from Hollywood
With the Austro-Hungarian dramatist Ödön von Horváth as our guide, Christopher Hampton's witty and erudite play takes us on a tour of the sun-soaked boulevards of 1940s Los Angeles. Taking in such improbable residents as Thomas and Heinrich Mann, Bertolt Brecht and the Marx Brothers amongst others, it brilliantly serves to open up a neglected chapter of American cultural history, as the wry and embittered European émigrés find themselves amidst the materialistic razzle-dazzle of Hollywood. Tales from Hollywood premiered at the Mark Taper Forum Theatre, Los Angeles, 1982 and at the National Theatre, London, in 1983.
Don Juan Comes Back from the War
Don Juan’s back from the War and he’s got some catching up to do. Berlin is crumbling, but after years of abstinence, the Don is ready for more of the debauchery that once made his name. Amidst political and economic upheaval, Don Juan finds himself increasingly at odds with the man he used to be. Is this notorious lothario about to experience a sudden change of heart? Ödön von Horváth’s startling tale of displacement and isolation in the aftermath of the Great War is presented in a bold new adaptation by award-winning playwright Duncan Macmillan.
The Red Devil Battery Sign
This book is William's symbol for the military-industrial complex and all the dehumanizing trends it represents from mindless cocktail party chatter to bribery of officials to assassination plots directed against those who won't play the game, to attempted coups by right-wing zealots.
The Death of King Arthur
The Alliterative Morte Arthure - the title given to a four-thousand line poem written sometime around 1400 - was part of a medieval Arthurian revival which produced such masterpieces as Sir Gawain and the Green Knight and Sir Thomas Malory's prose Morte D'Arthur. Like Gawain, the Alliterative Morte Arthure is a unique manuscript (held in the library of Lincoln Cathedral) by an anonymous author, and written in alliterating lines which harked back to Anglo-Saxon poetic composition. Unlike Gawain, whose plot hinges around one moment of jaw-dropping magic, The Death of King Arthur deals in the cut-and-thrust of warfare and politics: the ever-topical matter of Britain's relationship with continental Europe, and of its military interests overseas. Simon Armitage is already the master of this alliterative music, as his earlier version of Sir Gawain and the Green Knight (2006) so resourcefully and exuberantly showed. His new translation restores a neglected masterpiece of story-telling, by bringing vividly to life its entirely medieval mix of ruthlessness and restraint.
