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Presents the pen-and-ink sketches of the abstract expressionist artist

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The last years of the Habsburg monarchy saw a remarkable cultural flowering centered on Vienna and Prague: the music of Mahler and Schoenberg; the painting of Schiele, Klimt and Kokoschka; the work of Mach, Freud and Wittgenstein; the poetry of Rilke; the plays of Hofmannsthal; the stories of Kafka. One concern common to much of this work was to attack the nature of reality. and in this they prepared the way to fantasy, especially in the short story and the novel. This book explores this rich vein, with examples from the major writers as well as from the acknowledged masters of fantastic fiction, such as Gustav Meyrink, Karl Heinz Strobl, Paul Leppin. Leo Perutz, as well as Brod, Csokor and Werfel.

The fiction discussed in Gary Lachman's highly praised The Dedalus Book of the Occult. - Passages from Valery Bruisov, Andre Bely, William Beckford, Honore Balzac, William Beckford, Jacques Cazotte, J.K.Huysmans, Bulwer-Lytton, de Maupassant, de Nerval, Goethe, E.T.A. Hoffmann, Arthur Machen, Gustav Meyrink, Jan Potocki and Robert Irwin. - Wide-ranging publicity from The Guardian, Independent on Sunday to Fortean Times and occult magazines. - Author tour to promote the book. People have enjoyed stories of magic and the supernatural for ages, but in the late 18th century, tales of the occult became something more than a source of entertainment, or the means of enjoying the thrill of the strange and unknown. Drawing on the tradition of 'rejected knowledge', at the dawn of the modern age, numerous writers found in the occult a powerful antidote to the rising scientification of human experience. In these reports from the dark side, the weird, enigmatic and unexplainable became symbols of the human spirit's resistance to the new rational world. Dedalus Occult Reader brings together for the first time a unique collection of European fiction, offering some of the finest flowers and bizarr

First published on the eve of the First World War, Keyserling's masterpiece offers a vivid portrait of a society on the verge of dissolution. A group of German aristocrats gathers at a seaside village on the Baltic Sea for a summer holiday in the early years of the twentieth century. The characters represent a cross-section of the upper classes of imperial Germany: a philandering baron, his jealous wife, a gallant cavalry officer, the elderly widow of a general, a cynical government official, a lady’s companion. Their lives, even on holiday, are regulated by rigid protocol and archaic codes of honour.But their quiet, disciplined world is thrown into disarray by the unexpected presence of Doralice, a young countess who has rebelled against social constraints by escaping from an arranged marriage and running away with a bourgeois artist.

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The sensationalism and morbid pessimism that characterized French decadence in the late nineteenth century quickly attracted converts throughout Europe, including Russia. The Dedalus Book of Russian Decadence: Perversity, Despair and Collapse brings together horrifying, dramatic and erotic short stories and poetry, most of which have never before been translated into English, by the most decadent Russian writers. It includes scandalous writings by the well-known authors Valery Briusov, Leonid Andreyev, Fedor Sologub and Zinaida Gippius and acquaints English-speaking readers with the forgotten writer Aleksandr Kondratiev. These writers explore the darkest depths of the unconscious, as their characters experience sadism, masochism, rape, murder, suicide, and, in a story by Gippius, even passionate love for the dead.Briusov, the self-proclaimed leader of the Russian decadent movement, describesrevolution or the spread of madness leading to the collapse of highly advanced butdecadent civilizations that indulge in refined pleasures and ritualized orgies as theyawait the final hour. Andreyev portrays the collapse of all moral values on a personal level in his famous story "The Abyss,” which caused an uproar when itwas first published. Femmes fatales lure men to destruction, but the most seductive enchantress in the anthology is death itself, particularly in the work of Sologub, who is Russia's most decadent writer of all.This collection will certainly provide a reprieve from everyday life, with page after page of cruelty, corruption, sensuality, desperation and death.

The last years of the Habsburg monarchy saw a remarkable cultural flowering centered on Vienna and Prague: the music of Mahler and Schoenberg; the painting of Schiele, Klimt and Kokoschka; the work of Mach, Freud and Wittgenstein; the poetry of Rilke; the plays of Hofmannsthal; the stories of Kafka. One concern common to much of this work was to attack the nature of reality. and in this they prepared the way to fantasy, especially in the short story and the novel. This book explores this rich vein, with examples from the major writers as well as from the acknowledged masters of fantastic fiction, such as Gustav Meyrink, Karl Heinz Strobl, Paul Leppin. Leo Perutz, as well as Brod, Csokor and Werfel.

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'Ea de Queiroz spent eight years writing The Maias. This is a novel in the tradition of Flaubert or Dickens, in which de Queiroz anatomises a society through a brilliant drama of a family's decline and downfall. Margaret Jull Costa's translation is supple, transparent and wonderfully paced. There seems to be no barrier at all between the reader and what the author intended. The novel shades from realism to romanticism, from satire to tragedy. The vigour and charm of the characters come across beautifully in this translation, and so does de Queiroz's biting, sometimes despairing view of Lisbon society in the last quarter of the nineteenth century.' Helen Dunmore, novelist and chair of the Oxford Weidenfeld Translation Prize.

aturn is a fictionalised version of the personal life of the great Spanish Painter Goya. The story is narrated by Goya, his son Javier and his grandson Mariano. The deeply flawed relationship between the three generations produce an atmosphere of psychological tension.The story is built around the theory that Goya's horrific series of Black Paintings were in fact the work of his son Javier, and were Javier's way of expressing his feelings about his father. Each of the paintings features as an illustration within the book.

Teolinda Gersão paints an extraordinarily evocative picture of childhood in Africa and the stark contrast between warm, lush, ebullient Mozambique and the bleak, poor, priggish Portugal of Salazar.'Salazar's forty-year dictatorship in Portugal and that country's colonial wars in Africa cast their long shadow over Teolinda Gersao's The Word Tree. This is the first of Gersao's novels to be translated into English. As the Mozambican Laureano reflects,' the men crossing the sea from Lisbon didn't want that absurd war either'. Laureano's wife Amelia had come to the country from Portugal in search of a better life, but mentally never leaves her homeland, whereas her daughter Gita loves the country and grows up to resent the colonial presence. There are lush descriptions of the country, while the racial order is starkly spelt out: Amelia 'clings to the belief that fair-skinned people are the very top of the racial hierarchy, and that dark-skinned Portuguese people are almost at the bottom, just above the Indians and the blacks'.Adrain Tahourdin in The Times Literary SupplementMargaret Jull Costa's translation was awarded The Calouste Gulbenkian Portuguese Translation Prize for 2012.

Eca de Queiroz's sharply satirical work aimed to expose the hypocrisies of his age. In The Mandarin his lascivious anti-heroes Teodoro and Teodorico,are dragged from their narrow Lisbon lives into exotic encounters with Chinese mandarins, the Devil (in the guise of a dark-suited civil servant)and Jesus Christ Himself. This short novel is accompanied by the short stories Jose Matias, The Hanged Man and The Idiosyncrasies of a young blonde woman.

Set in the Faroese town of Torshavn at the beginning of the 20th century, this is the story of a group of musicians - the Boman Quartet - who find sanctuary in their music amid a series of dramatic and tragic events.

Our Musseque is a tale of growing up in one of the vibrant shanty towns (musseques) of Luanda during the 1940s and 1950s. Weaving back and forwards through his half-remembered childhood, the narrator draws us into a close-knit world of labourers, shopkeepers, drunks, prostitutes and determined women battling to bring up their families, as Angola hurtles towards the beginning of its armed struggle against Portuguese colonial rule. Meanwhile the children laugh, play, squabble and fight, puzzle at racial taunts and move rapidly through adolescence towards sexual awakening and a greater awareness of political realities around them. Written in prison in 1961-62 but not published until over 40 years later, the novel is shot through with a sense of nostalgia for the lost innocence of childhood and a community swept away by the encroaching city, together with the exhilaration, hopes and fears for what is about to come.

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Eugene Onegin (1823-31) is an eight-chapter novel in sonnets. The sonnet form employed is Pushkin's own devising, which he uses to modulate Mozart-like, between tragic profundity and sparkling humour, from exquisite lyrical descriptions of nature to devastating satire, all within a twinkling of the proverbial eyelid. The story and plot are simple, not unlike those of Pride and Prejudice, but with the ending left open. All Russian literature after Pushkin is influenced one way or another by Eugene Onegin, which is one of the most dazzling works of nineteenth-century European literature.

This anthology presents readers with a broad selection of fiction written between the late 19th century and today. The collection opens with the early realist Elisabeth Aspe, who described both village life and urban fear during the final decades of the 19th century. Early 20th-century works by female writers often discussed the young creative individual’s encounters in the transformed urbanised world, some of the most outstanding examples of which are by the great Betti Alver. After World War II, Estonian writing bore the unmistakable signs of Soviet censorship. Nevertheless, Viivi Luik’s momentous novel The Seventh Spring of Peace managed to avoid suppression, and the wonderfully unique Asta Põldmäe seized her opportunity to write. Very strong authors such as Eeva Park, Maarja Kangro and Maimu Berg flourished with the return of freedom of expression in the late 20th century, and continue to do so today. They represent the best of Estonian short-story writing, handling social topics very sharply and suggestively, and scrutinising the country’s soul in a highly personal manner.

W. Glyn Jones' masterful translation allows us to read in English for the first time one of the neglected classics of Scandinavian Literature.Ida Brandt is the classic outsider. Not acceptable to the Danish aristocratic circle she was brought up around and too moneyed for her nursing colleagues at the hospital. She is good looking and gentle, generous and kind and her trusting nature is betrayed by the people around her. Herman Bang takes us into Ida's world, he does not comment, let alone criticise and leaves the reader to judge. It is a novel ahead of its time in its impressionistic, almost cinematic style.